anxa 

88-B 

17883 


Firft  National  Silk 


Convention 


Catalogue  of  the  Historical  Exhibition 
of  Textiles  by  R.  A.  Meyer- Riefstahl 
Ph.  D.,  Director  of  the  Exhibition. 


City  Hall,  Paterson,  N.J. 

October  12th,  to  Alst.,  1915 


.-Anno  uncement 


HE  Committee  of  the  Exhibition  plans  the 
publication  of  an  important  illustrated  work 
on  the  Historical  Exhibition  of  Textiles. 

This  publication  shall  contain : a short  scientific 
history  of  the  textile  art  as  exemplified  by  the 
specimens  in  the  Paterson  exhibition,  and  a complete 
catalogue  of  the  Exhibits  by  Dr.  R.  Meyer-Riefstahl. 

A hundred  plates  of  reproductions  of  the  most 
important  exhibits,  a number  to  be  printed  in  color, 
the  black  and  white  reproductions  in  photogravure. 

A short  resume  of  the  First  National  Silk 
Convention  in  Paterson  and  its  transactions  and 
a list  of  the  delegates  to  the  Convention. 

This  publication  is  intended  to  be  a handbook 
for  art  students  as  well  as  for  silk  manufacturers. 
It  will  be  the  first  publication  on /Textiles  containing 
exclusively  material  taken  from  American  collections. 

A prospectus  with  specimen  of  reproductions 
and  text  will  be  published  later.  Visitors  to  the 
exhibition  interested  in  this  publication  and  desiring 
to  receive  the  prospectus  are  requested  to  leave 
their  names  and  exact  addresses  in  the  address  book 
placed  at  the  catalogue  desk. 


First  National  Silk  Convention 

Catalogue  of  the  Historical  Exhibition 
of  Textiles  by  R.  A.  Meyer- Riefstahl 
Ph.  D.,  Director  of  the  Exhibition. 


City  Hall,  Paterson,  N.  J. 

October  12th,  to  21st.,  19  15 


PRINTED  AND  BOUND  BY  THE  PATERSON  COMPOSITION  CO.,  INC. 
14  PARK  AVE.,  PATERSON,  N.  J. 


Organizations  of  the  Historical 
Exhibition  of  Textiles 


COMMITTEE  OF  HONOR. 

Non-Residents. 

Miss  Eleanor  Cooper  Hewitt,  Director  of  the  Museum 
of  Decorative  Art,  Cooper  Institute,  New  York. 

Arthur  Fairbanks,  Director  of  the  Museum  of  Fine 
Arts,  Boston,  Mass. 

M.  Fox,  Director  of  the  Brooklyn  Institute  of  Arts 
and  Sciences,  Brooklyn,  N.  Y. 

Edward  Robinson,  Director  of  the  Metropolitan  Mu- 
seum of  Art,  New  York. 

L.  Earle  Rowe,  Director  of  the  Rhode  Island  School  of 
Design,  Providence,  R.  I. 

Frederic  Allen  Whiting,  Director  of  the  Museum  of 
Art,  Cleveland,  Ohio. 


Residents. 

Mrs.  Jennie  T.  Hobart 
Mr.  E.  T.  Bell 

Mr.  and  Mrs.  H.  H.  Parmelee 
Mr.  and  Mrs.  H.  F.  Bell 
Mr.  and  Mrs.  Ralph  Rosenheim 
Mrs.  Charles  Lotte 

Mr.  and  Mrs.  Frederick  Cowperthwait 

Mr.  and  Mrs.  August  Hunziker 

Mr.  Charles  L.  Auger 

Mr.  Charles  Simon 

Mr.  John  W.  Ferguson 

Mr.  Emil  Schnurrenberger 


Organizations  of  the  Historical 
Exhibition  of  Textiles 


EXECUTIVE  COMMITTEE. 

Wm.  Hand,  Chairman  of  the  First  National  Silk  Con- 
vention. 

John  A.  Kane. 

Ralph  Rosenheim. 

A.  W.  Smith,  Editor  of  the  American  Silk  Journal. 

H.  W.  Kent,  Secretary  of  the  Metropolitan  Museum 
of  Art, 

Frances  Morris,  assistant  Curator  of  the  Metropolitan 
Museum  of  Art,  in  charge  of  the  Textile  Department. 


Director  of  the  Exhibition. 

R.  A.  Meyer-Riefstahl,  Ph.  D.,  New  York  City. 


After  the  close  of  the  Exhibition 
copies  of  this  catalogue  can  he  ob- 
tained from  the  Chamber  of  Com- 
merce, Paterson,  N.  J. 


The  Exhibition  was  favored  by 
Loans  from: 


Museum  of  Fine  Arts,  Boston,  Mass. 

Brooklyn  Institute  of  Arts  and  Sciences,  Brooklyn,  N.  Y. 
Museum  of  Decorative  Art,  Cooper  Institute,  New  York. 
Museum  of  Arts,  Cleveland,  Ohio. 

Museum  of  the  Rhode  Island  School  of  Design,  Prov.,  R.  I. 
Metropolitan  Museum  of  Art,  New  York. 


Horatio  G.  Curtis, 
Bosfon,  Mass. 

Henry  Golden  Dearth, 
New  York  City. 

Dr.  Arnold  Genthe, 
New  York  City. 

J.  P.  Morgan, 
New  York  City. 

Miss  R.  A.  Polhemus, 
Brooklyn. 

Dr.  Denman  Ross, 
Boston. 

J.  H.  Wade, 
Cleveland,  Ohio. 

Hervey  E.  Wetzel, 
Boston. 


Duveen  Brothers, 
New  York  City. 

French  and  Co. 
New  York  City. 

Funaro  and  Keller, 
New  York  City. 

Dikran  Kelekian, 
New  York  City. 

Hagop  Kevorkyan, 
New  York  City. 

Loo  and  Co., 

New  York  City. 

Luigi  Orselli, 

New  York  City. 

Dr.  Tabet, 

New  York  City. 

Robert  de  Rustafjaell, 
New  York  City. 

Yamanaka  and  Co., 
New  York  City. 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/firstnationalsil00rief_0 


PREFACE 


The  Historical1  Exhibition  has  been  made  possible 
through  the  cordial  co-operation  of  Museums  and  lovers 
of  art,  who  have  generously  placed  their  treasures  at  the 
disposition  of  the  Committee,  many  of  whom  expressly 
stated  that  they  did  so,  appreciating  the  artistic  and  edu- 
cational possibilities  of  an  exhibition  of  this  character. 
The  Director  of  one  of  the  leading  Museums  of  this  coun- 
try pointed  out,  how  important  the  collaboration  between 
art  and  industry  is  in  the  textile  branch,  and  how  neces- 
sary it  is  for  the  silk  manufacturer  to  know  the  tradition  of 
the  past  centuries  and  to  remain  in  touch  with  the  works 
of  former  generations.  He  consequently  applauded  the 
idea,  developed  among  the  silk  manufacturers  themselves, 
to  organize  an  Historical  Exhibition  of  jTextiles  on  the  oc- 
casion of  the  First  National  Silk  Convention  in  Paterson. 

Experience  in  other  countries  has  proved  indeed  the 
importance  of  the  contact  with  the  past  for  the  silk  manu- 
facturers. The  history  of  textile  art  is  nothing  but  the 
study  of  the  influences  of  one  textile  style  upon  another, 
the  Sassanians  take  up  the  old  Persian  tradition;  the  Alex- 
andrian manufacturers  copy  the  Sassaians;  the  Byzan- 
tine weavers  copy  the  Alexandrians  and  the  Sussanian,  the 
looms  of  western  Europe  are  under  the  influence  of  the 
Byzantines.  In  modern  times  the  Lyonese  silk  industry 
takes  up  the  patterns  of  the  late  Italian  Renaissance  and 
develops  them  in  a personal  way,  and  the  textile  industry 
of  our  modern  times  is  deeply  indebted  to  the  models  of 
Lyons.  Each  generation  takes  up  the  tradition  of  the  past 
and  adding  something  of  its  own  individuality,  creates 
something  new. 

The  centres  of  the  European  textile  industry  have  un- 
derstood the  importance  of  the  past  to  the  living  genera- 
tion; the  City  of  Crefeld  possesses  an  important  Museum 
of  Textiles,  but  the  classic  example  in  this  line  is  the  City 
of  Lyons,  where  about  fifty  years  ago  the  Chamber  of 
Commerce  took  the  initiative  founding  a Collection  of 


7 


Textiles,  which  is  to-day  perhaps  the  most  important  exist- 
ing and  is  still  installed  in  the  Building  of  the  Chamber  of 
Commerce  in  Lyons. 

/This  museum  is  not  only  a precious  source  of  informa- 
tion for  the  designers  and  manufacturers  of  the  City  of 
Lyons,  it  is  in  reality  one  of  the  international  institutions 
of  art  and  science. 

The  leading  museums  of  the  United  States  have  also 
recognized  the  importance  of  textile  collections  from  the 
artistic,  industrial  and  educational  standpoint,  but  as  far 
as  we  know  this  is  the  first  time,  that  the  initiative  in  this 
direction  has  come  from  the  textile  manufacturers  of  this 
country.  It  is  an  interesting  experiment,  which  it  is  hoped 
may  prove  a lasting  benefit  to  the  community  even  after 
the  exhibition  has  closed.  We  plan  an  important  publica- 
tion, illustrated  with  about  a hundred  plates  of  reproduc- 
tions which  shall  be  permanent  document  of  this  first  at- 
tempt, encouraging  perhaps  further  along  the  same  line. 

It  is  an  agreeable  duty  for  the  Committee  of  the  Ex- 
hibition to  thank  all  the  museums  and  art  lovers  who  by 
loans  and  personal  interests  have  helped  us  in  our  work 
We  feel  particularly  obliged  to  Miss  Frances  Morris,  As- 
sistant Curator  of  the  Metropolitan  Museum  of  Art  in 
charge  of  the  Textile  Department,  whose  competent  advice 
and  active  help  during  the  preparation  of  the  exhibition 
contributed  particularly  to  its  success. 

R.  Meyer-Riefstahl,  Ph.  D., 

Director  of  the  Exhibition. 


8 


INTRODUCTION 

BY 

R.  A.  MEYER-RiEFSTAHL,  PH.  D. 

DIRECTOR  OF  THE  EXHIBITION 

HE  aim  of  the  present  exhibition  is  to  give  as 
comprehensive  a survey  as  possible  of  the  his- 
tory of  textiles,  especially  of  the  history  of  the 
weaving.  No  attempt  has  been  made  to  gather 
a representative  series  of  carpets,  tapestries  or  laces.  Em- 
broideries, although  represented  by  some  remarkable  speci- 
mens from  the  collections  of  Mr.  J.  P.  Morgan  and  Henry 
Holden  Dearth  are  also  outside  of  the  general  plan  of  the 
exhibition,  which,  as  we  think,  gives  a somewhat  complete 
idea  of  the  development  of  loom  weaving. 

Loom  weaving  was  known  at  a very  early  period.  Plain 
linen  cloth  of  fine  texture  has  been  found  in  Egypt,  which 
can  be  ascribed  with  certitude  to  the  Predynastic  Period, 
(3400  B.  C.)  a weaving  loom  is  represented  on  an  Egyptian 
stone  relief  of  the  18th  Dynasty  (1500  B.  C.).  Tapestry 
weaving  dates  from  as  early  a period  as  loom  weaving  and 
being  technically  less  difficult,  has  always  proved  itself 
the  home  industry  par  excellence.  The  loom  of  Penelope, 
shown  on  a Greek  vase  of  the  4th  century,  was  a tapestry 
loom,  and  the  marvellous  fabric  the  achievement  of  which 
was  to  deliver  her  to  one  of  her  pretendants,  was  a tapestry 
of  complicated  design  that  justified  the  length  of  time  ac- 
quired by  her  to  produce  it. 

The  earliest  products  of  weaving  are  plain  fabrics,  in 
Egypt  as  well  as  in  Greece  and  Babylonia.  Their  only 
decoration  consists, — so  far  as  we  can  judge  from  num- 
erous sculptures, — in  fringes  and  borders,  the  latter  prob- 
ably woven  in  tapestry  technique,  which  is  particularly 
well  adapted  for  the  production  of  ribbons. 

Embroidery  was  very  early  employed  for  the  decora- 
tion of  garments  but  embroidered  fabrics  of  early  periods 


9 


have  always  been  rather  scarce,  the  sculptural  spirit  of 
primitive  periods  apparently  refusing  to  interrupt  the 
simplicity  of  plastic  form  by  any  complicated  schemes  of 
color  ornamentation.  Prior  to  the  Roman  period,  the 
Egyptians  avoided  the  decoration  of  garments,  and  as  far 
as  we  can  judge  from  the  Greek  vase  paintings,  the  Greeks 
also  seem  to  have  employed  only  simple  patterns ; some  with 
little  blossoms,  except  in  the  eastern  realms  of  Greek  civili- 
zation, where  the  contact  with  Mesopotamia  and  Persia  pro- 
duced a certain  tendency  for  color  and  heavy  decoration, 
which  in  the  latter  countries  soon  prevailed,  judging  from 
the  late  Babylonian  reliefs  and  the  Persian  decorations 
in  enamelled  tiles  of  the  Achaemenid  Period,  which  show 
garments,  richly  decorated  with  huge  ornamental  discs  and 
medallions,  possibly  embroidered  or  perhaps  already  pro- 
duced by  shuttle  weaving. 

Mesopotamia  or  Persia  has  to  be  considered  as  the 
country  where  first  in  the  western  countries  shuttle  weav- 
ing was  used  to  produce  color  patterns  for  the  decoration 
of  textiles.  At  the  same  time,  that  tapestry  weaving  was 
not  a lost  art  is  proved  by  the  very  curious  specimens  of 
Greek  Tapestry  work  of  extraordinary  tine  quality,  diat- 
ing  from  the  4th  century.  B.  C.,  found  by  Ludolph  Stepihani 
at  Kertsch,  in  the  Crimea. 

The  great  revolution  in  textile  art  in  western  parts  of 
the  old  world  has  been  brought  up  by  the  introduction  of  a 
new  textile  material;  the  most  brilliant,  the  finest  fiber,  the 
most  apt  for  dyeing:  We  mean  the  silk,  which  in  the  early 
centuries  was  imported  from  China  to  India,  to  Persia,  to 
Greece,  and  later  also  to  Rome,  where  it  was  already  known 
at  the  time  of  the  Republic. 

The  Chinese  kept  the  production  of  silk  as  a great 
secret,  jealously  guarded,  and  while  the  antique  authors 
were  familiar  with  the  material,  their  statements  re- 
garding its  production  are  as  a rule  confusing  or  entirely 
in  error.  This  new  material  held  extraordinary  possibili- 
ties for  the  textile  art  and  as  the  material  came  from  the 
East,  all  its  advantages  and  technical  problems  were  first 
worked  out  in  the  Orient,  thus  developing  a new  textile 
style,  based  principally  on  color.  The  Oriental  style  here 


10 


evolved  in  textile  art,  produced  a continually  growing  in- 
fluence on  the  world  of  classic  Greco-Roman  civilization. 
No  specimens  of  these  Oriental  textiles  remain  to  us,  but 
we  can  assume  that  they  represent  the  connecting  link  be- 
tween stuffs  decorated  with  discs  and  medallions,  as  pro- 
duced in  Persia  under  the  Achemenids,  and  the  rich  silks 
with  medallions  or  with  representations  of  rows  of  animals, 
woven  in  the  Sassanian  Empire  from  the  third  to  the  sev- 
enth century  A.  D.,  some  of  which  rare  specimens  have 
been  preserved  as  covers  of  reliques  or  as  parts  of  early 
bookbindings. 

This  Oriental  style  of  silk  weaving,  as  characterised 
by  the  medallion  type  very  soon  begins  to  inspire  the  huge 
industry,  which  flourished  in  Alexandria  and  other  Egyp- 
tian towns,  and  provided  the  whole  Roman  Empire  with 
fabrics  as  well  as  the  Eastern  countries.  We  still  possess 
to-day  some  specimens  of  these  Alexandrian  silks,  created 
under  Persian  influence  during  the  third  to  the  seventh 
century  A.  D. 

Besides  this  world-dominating  industry  in  Alexandria, 
carried  on  by  the  enterprising  Greek,  there  existed  in 
Egypt  another  more  modest  industry,  probably  carried  on 
by  the  native  women  for  home  consumption;  this  was  the 
tapestry  weaving.  ,The  products  of  these  looms  have  been 
preserved  in  great  numbers  in  the  tombs  of  Egypt  and 
during  the  past  thirty  years  have  been  unearthed  in  great 
quantities.  The  excavations  of  Antinoe,  Akhmin  and  of 
Sakkara  form  one  of  the  greatest  and  most  unexpected  rev- 
elations of  the  life  of  past  centuries.  Nothing  could  be 
more  pathetic  than  the  mummified  body  of  the  young  fair- 
haired  woman  in  her  rich  costume,  exhibited  now  in  Musee 
Guimet  in  Paris.  The  hundreds  of  entire  costumes  or  frag- 
ments of  fabrics  give  to  us  a perfect  image  of  the  textile 
art  of  the  late  Roman  Period,  which  before  these  excava- 
tions we  thought  absolutely  lost.  But  tapestry  technique 
not  only  served  to  twist  the  medallions  and  stripes  used 
for  the  decoration  of  the  tunics,  it  was  used  also  to  execute 
large  wall  decorations,  as  important  as  the  large  tapes- 
tries of  the  renaissance.  Our  exhibition  contains  some  en- 
tire costumes,  (cf.  Nos.  1-25),  dating  from  the  early  Chris- 


11 


tian  Period  in  Egypt,  which  are  extremely  rare  and  as  well, 
numerous  tapestry  fragments,  taken  fom  garments  and  al- 
so (Cat.  No.  1-25). 

These  Alexandrian  fabrics,  spread  over  the  wide  area 
of  the  Roman  Empire,  influenced  the  textile  industry  of  the 
whole  of  Europe  during  centuries;  practically  the  entire 
production  of  textiles  in  Byzantium,  the  richest  Christian 
town  prior  to  the  thirteenth  century,  the  textiles  produced 
in  southern  Italy,  the  fabrics  issued  by  the  modest  looms  at 
Regensburg  and  Cologne,  all  show  the  influence  of  this 
early  style  created  first  in  Alexandria  after  Sassanian 
models.  The  weavers  of  the  Mohammadan  countries,  of 
course,  in  Persia,  Syria,  Egypt,  North  Africa  and  Spain, 
worked  absolutely  in  the  same  line  and  it  may  be  that  they 
were  influenced  by  the  original  Persian  textiles  or  by  the 
Alexandrian  imitations. 

Our  exhibition  contains  only  very  few  specimens  of 
these  early  fabrics  vdiich  are  extremely  rare ; the  most  re- 
markable piece  is  No.  31  of  the  catalogue,  a Byzantine  silk 
fabric  of  the  eleventh  century.  It  is  a most  characterictic 
representative  of  these  early  mediaeval  fabrics  inspired 
from  Sassanian  models. 

The  early  mediaeval  medallion  style,  which  we  find  in 
all  the  countries  of  the  western  world,  undergoes  a slow 
evolution;  gradually  the  composition  of  the  fabric  becomes 
freer  and  the  strict  medallion  scheme  begins  to  give  way, 
but  the  principle  of  representing  bird  or  animal  forms  in 
pairs  separated  by  the  central  tree  motive  remains  until 
the  middle  of  the  thirteenth  century.  The  exhibition  con- 
tains some  remarkable  specimens  of  this  art:  No.  33,  un- 
earthed from  a tomb,  now  in  the  possession  of  the  Cooper 
Union  Museum  is  a splendid  specimen  of  the  12th  century. 
No.  34  of  the  collection  of  Dr.  Denman  Ross  in  Boston, 
shows  the  later  evolution  of  the  early  mediaeval  style. 

During  the  thirteenth  century  the  introduction  of  a 
new  element  made  a complete  change  in  the  style  of  textile 
patterns.  The  western  world  had  always  been  in  touch 
with  the  Far  East:  Roman  glass,  Sassanian  weaving  and 
silver  vessels  were  known  in  China,  as  well  as  Chinese  silk 
in  Europe.  The  proof  of  this  is  given  by  the  treasures 


12 


in  the  Shoshoin  House  at  Nara,  Japan,  where  to  this  day 
a group  of  different  objects  has  been  preserved,  present- 
ed to  the  ruler  of  Japan  by  a Chinese  Emperor  of  the  Tang 
Dynasty  (7th  century).  We  find  there  a Chinese  copy 
of  a Sassanian  silk,  glass  vessels  of  western  form  and  a 
bronze  jug,  which  is  evidently  the  copy  of  a Sassanian 
piece.  But  on  the  other  hand  silk  fabrics  were  exported 
from  China  to  the  western  countries  as  is  indicated  by  a 
number  of  Chinese  fabrics  dating  from  the  period  of  the 
Crusades  which  were  used  in  the  fabrication  of  ecclesiasti- 
cal vestments.  In  Egypt,  Chinese  silk  weavings  were  ap- 
parently held  in  special  favor,  an  interesting  revelation, 
when  in  the  excavations  of  Egyptian  tombs  of  the  thirteenth 
and  fourteenth  centuries  not  only  Saracenic  weavings  but 
Chinese  silks  were  also  unearthed,  the  origin  of  which  was 
beyond  doubt.  We  possess  also  a certain  number  of  Chi- 
nese fabrics  of  the  same  period  with  Arabic  inscriptions, 
one  of  them  giving  even  the  name  of  an  Egyptian  Mameluk 
Sultan  Nasr  ed  Din,  who  reigned  about  the  year  1300.  The 
Chinese  textiles  of  these  periods  are  of  two  different  types ; 
we  meet  the  strong  symmetrical  composition,  developed 
probably  western  influence,  but  we  meet  also  quite  a new 
type  of  pattern  with  symmetrical  stems,  leaves  and  flowers 
combined  with  birds  and  animals  represented  in  vivid 
movement,  flying,  running,  hunting  one  another  in  absolute- 
ly free  composition,  which  is  ruled  not  by  vertical,  but  by 
diagonal  lines  as  the  dominating  element.  The  earlier  com- 
positions are  solemn  and  strong,  while  the  new  type  of 
composition  is  full  of  life  and  movement  and  witnesses  an 
absolutely  new  spirit,  which  is  soon  evidenced  in  all  the 
countries  of  the  Mediterranean  basin  as  well  as  in  Persia. 
Nos.  37-46  of  our  catalogue  show  some  most  interesting 
specimens  of  this  new  type,  which  remains  dominant  during 
the  whole  Gothic  Period  and  inspires  as  well  the  marvelous 
creations  of  the  early  renaissance  in  Italy.  Since  the  12th 
century  Italy  has  proved  herself  more  and  more  the  lead- 
ing country  in  the  textile  industry.  The  centres  of  which 
were  first  in  Sicily  (Palermo),  during  the  thirteenth  and 
fourteenth  centuries  in  Lucca,  and  from  the  fifteenth  cen- 
tury until  modern  times  in  Venice  and  Genoa,  commer- 
cially tb^  two  most  important  cities  of  the  country. 

13 


The  Chinese  textiles  first  introduced  the  scheme  of 
composition  built  up  on  a system  of  asymmetrically  un- 
dulating stems  with  flowers  and  leaves  intermingled  with 
animals  represented  in  vivid  movement.  From  the  Far 
East  also  appeared  another  scheme  of  composition  with 
huge  conventionalized  peony  flowers  filling  the  spaces  be- 
tween the  undulating  stems.  Our  exhibition  shows  a Chi- 
nese specimen  of  this  type,  found  in  an  Egyptian  tomb 
(No...  Cooper  Union  Museum)  and  a western  offspring 
of  the  same  type  of  composition  (No. . . Collection  Dikran 
Kelekian).  This  latter  scheme  with  peony  flowers  and 
stems,  first  employed  on  patterns  of  a rather  small  scale,  is 
more  and  more  increased  in  size  and  helps  to  develop  the 
patterns  of  the  marvelous  Italian  velvets  of  the  fifteenth 
century,  which  we  know  from  the  backgrounds  of  the  con- 
temporaneous paintings  and  from  which  some  very  fine 
specimens  are  found  in  our  exhibition  (No.  84  of  the  cata- 
logue, Metropolitan  Museum,  and  following  numbers  of  the 
catalogue).  In  these  rich  velvets  with  gold  brocade  the 
Chinese  peony  flower  has  since  long  time  lost  its  primitive 
shape  and  has  taken  the  form  of  a conventionalized  pome- 
granate. In  the  earlier  specimens  the  asymmetrical  and 
diagonal  scheme  of  composition  prevails,  while  at  the  time 
of  the  High  Renaissance,  where  in  art  a strong  feeling  for 
harmony  and  symmetry  is  dominant,  the  composition  of 
these  velvets  as  well  as  that  of  the  other  fabrics  (brcoades 
and  decorative  demasks)  is  made  symmetrical  again,  the 
Later  Renaissance  abandons  the  ogival  scheme  of  composi- 
tion and  replaces  it  by  the  motive  of  stems  and  flowers 
growing  out  from  a huge  renaissance  vase.  These  pat- 
terns characteristic  of  the  Later  Renaissance  spread  again 
over  the  whole  of  Europe.  They  are  executed  in  Spain 
with  an  especial  richness,  although  the  design  of  the  Span- 
ish pieces  is  generally  less  refined  than  that  of  the  Italian 
fabrics. 

During  the  seventeenth  century  Italy  cedes  its  leader- 
ship in  textile  art  to  France.  During  the  reign  of  Louis 
XIV  France  develops  textile  art  to  the  highest  technical 
skilfulness;  the  weavings  of  Lyons  with  their  convention- 
alized flower  patterns,  which  retain  still  the  influence  of 


14 


tht  Italian  fabrics  of  the  preceding  periods,  are  technically 
unsurpassed  masterpieces.  From  the  seventeenth  century 
until  today  the  silk  industry  of  Lyons  has  been  the  model 
for  the  entire  world. 

From  an  artistic  standpoint  the  Lyons  textiles  of  the 
Period  of  Louis  XIV  show  a curious  mixture  of  the  spirit 
of  France  and  of  the  late  Italian  Renaissance,  as  was  the 
case  with  the  Louis  XIVth  style  taken  as  a whole. 

The  alluring  beauty  of  the  French  artistic  tempera- 
ment is  revealed  only  during  the  eighteenth  century,  where 
in  the  art  of  painting,  Watteau  and  after  him  Fragonard, 
creates  that  world  of  grace  and  elegance,  the  charm  of 
which  is  as  vivid  to-day  as  it  was  one  hundred  and  fifty 
years  ago.  French  textile  art  also  reflects  this  touch  of 
natural  grace;  the  weavings  of  the  Period  of  Louis  XV 
show  a naturalistic  tendency,  an  easiness  and  a charm 
absent  in  the  solemn  creations  of  the  earlier  periods.  Tech- 
nically, however,  the  art  of  weaving  remains  on  the  high 
level  of  the  fore-going  epoch. 

Although  since  that  day  the  technique  of  weaving  has 
undergone  a tremendous  development,  through  the  inven- 
tion of  Jacquard,  from  the  artistic  standpoint  very  little 
has  been  added  to  the  inheritance  of  the  past. 

# * * 

;The  influence  of  the  Orient  on  the  textile  art  of  Europe 
has  been  very  considerable  at  all  periods.  The  development 
of  Oriental  textile  art  is  not  less  interesting  than  that  of 
Europe. 

Mohammadan  textile  art  is  at  first  inspired  by  the 
medallion  style  of  the  Sassanian  silks.  In  Egypt  it  devel- 
ops an  absolutely  new  style  of  textile  decoration,  the  origin 
of  which  may  be  traced  back  to  the  Coptic  weaves.  We 
find  there  fabrics  woven  in  stripes,  with  geometrical  inter- 
laced decoration  and  later  we  meet  textiles  with  similar 
decoration  of  interlaced  bands  spread  over  the  whole  sur- 
face of  the  fabric.  This  same  style  also  appears  in  Syria 
and  is  in  special  favor  in  Hispano- Arabic  art.  The  exhi- 
bition contains  a very  fine  series  of  Hispano-Arabic  silks 
in  this  style.  (Cat.  No Cooper  Union  Museum). 

In  Persia  at  the  time  of  Schah  Thamasp  and  the  two 


15 


Schah  Abbas  (1500-1650)  a very  rich  and  refined  style  in 
textiles  is  developed  corresponding  to  the  highest  develop- 
ment of  Persian  art  in  general. 

There  are  two  especially  remarkable  types  of  fabrics; 
first  the  silks  with  fignral  representations,  generally  por- 
traying personages  of  old  Persian  legends  like  Medjnun 
and  Leila  or  Iskender,  the  Persian  name  of  Alexander  the 
Great.  These  pieces  are  extremely  rare  and  valuable, 
having  been  manufactured  for  the  court.  Our  exhibition 
contains  a very  representative  set  of  these  rare  fabrics 
(Oat.  No.  219-228.  Metropolitan  Museum  and  Cooper  Un- 
ion Museum). 

The  second  characteristic  type  of  Persian  silk  fabrics 
of  the  16th  century  is  of  heavy  gold  and  silver  brocade 
with  groups  of  flowering  shrubs  intermingled  with  birds 
and  butterflies,  executed  in  very  fine  technique.  (Cat.  No. 
241-243,  Coll.  Kelekian  and  Kevorkyan.) 

Turkey  produced  her  finest  textiles  at  the  time  of  her 
political  apogee  /tinder  the  reign  of  Soliman  the  great. 
Brussa  was  the  place  of  manufacture  of  remarkable  gold 
brocades  generally  composed  in  the  scheme  of  undulating 
stems  forming  ogival  patterns,  the  different  ogives  being 
filled  with  very  finely  executed*  naturalistic  flowers,  usual- 
ly hyacinths,  tulips,  rosebuds  and  carnations,  the  same 
flowers  that  appear  on  the  Anatolian  potteries  of  the  six- 
teenth century.  A very  curious  intermingling  of  European 
and  Oriental  art  is  to  be  seen  in  the  earlier  velvets  of  gold 
and  silver  brocade  and  generally  red  silk  velvet.  The  ques- 
tion is  yet  to  be  determined  whether  these  marvelous  vel- 
vet (Cat.  No . Coll.  Kelekian.  Providence  Mu- 

seum), which  represent  evidently  a simplified  type  of  the 
Venetian  velvets  of  the  15th  century,  are  Venetian  pro- 
ducts made  for  exportation  to  the  East  or  whether  they  are 
Oriental  work  inspired  from  the  Venetian  velvets;  in  11 
probability  these  velvets  are  of  Turkish  origin.  During 
the  later  part  of  the  16th  century  another  type  of  velvets 

(Cat.  No collections ) was 

manufactured  in  Scutari  near  Constantinople.  These  vel- 
vets. the  production  of  which  practically  has  been  continued 


16 


to  our  own  day,  charm  through  the  richness  of  their  color 
and  their  simple  but  harmonious  composition. 

The  textile  art  of  the  Far  East  is  represented  in  our 
exhibition  by  some  interesting  specimens  of  Chinese  tapes- 
try of  the  eighteenth  century  and  by  a collection  of  Japan- 
ese fabrics  which  give  a good  idea  of  the  textile  art  in 
Japan  during  the  eighteenth  century.  Specimens  of  Early 
Chinese  and  Japanese  fabrics  are  extremely  rare  and  it  is 
almost  impossible  outside  of  the  Far  East  to  gather  a rep- 
resentative collection  showing  the  historical  development 
of  textile  art  in  the  Far  East. 

The  fabrics  of  the  seventeenth  and  eighteenth  centuries 
show  the  extraordinary  traditionalism  of  Far  Eastern  art; 
at  the  same  period  in  which  the  Japanese  produce  the 
charming  small  weaves  with  naturalistic  figured  subjects 
showing  the  spirit  of  the  Ukiyoye  painters  in  textile  art, 
they  also  produce  marvelous  gold  brocades  with  huge  scroll 
work  patterns  of  extraordinary  decorative  effect.  In  China 
also  at  a relatively  late  period  decorative  fabrics  of  a very 
high  artistic  quality  have  been  produced ; we  may  call  espe- 
cial attention  to  the  four  huge  gold  brocaded  velvets  of  the 
Kanghi  period,  manufactured  for  the  Imperial  Palace.  We 
venture  to  say  that  outside  of  China  a similar  set  has  not 
been  gathered. 

In  this  cursory  glance  at  the  history  of  textiles  we 
have  not  attempted  to  offer  a formal  treatise  on  the  sub- 
ject as  illustrated  by  the  fabrics  gathered  in  the  exhibition. 
Our  only  aim  has  been  in  this  rapid  sketch  to  be  possibly 
of  some  slight  service  to  the  art  lover  in  his  study  of  the 
exhibition  and  to  contribute  thus  to  its  artistic  and  edu- 
cational purpose. 


17 


CATALOGUE 


I.  Hellenistic  and  Coptic  Tapestries  and 
Loom  Weavings. 

From  Egyptian  tombs,  3rd  to  7th  centuries 

1.  Three  fragments  of  Egyptian  tapestry  weave. 
Hellenistic  Period.  4th  to  5th  centuries. 

Lent  by  tht  Metropolitan  Museum  of  Art. 

2.  Coptic  mummy  cloth.  Square-shaped  fragment; 

figures  of  mother  and  child  in  centre.  Found  in 
grave  in  Akhmin,  Egypt. 

1st  to  2nd  century,  A.  D. 

Lent  by  the  Museum  of  Providence,  R.  I. 

3.  Coptic  fragment  (framed).  Medallion  enclosing  two 

horsemen.  Lent  by  Mr.  J.  H.  Wade,  Cleveland,  0. 

4.  Coptic  tapestry,  large  star,  mauve  and  white. 
Egyptian  5th  to  6th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

5.  Coptic  tapestry,  portrait,  framed. 

Egyptian,  5th  to  6th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

6.  Fragment  of  Coptic  woven  woollen  fabric. 

Egyptian,  6th  to  7th  century. 

Lent  by  Robert  de  Rustafjaell,  London. 

7.  Coptic  tapestry,  medallion  with  two  personages,  prob- 

ably scene  of  annunciation,  copied  after  an  Alex- 
andrian silk  fabric. 

Egypitan,  5th  to  6th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 


19 


8.  Coptic  tapestry,  medallion,  man  on  horseback,  hunt- 

ing. Coptic  work,  probably  after  a Sassanian  silk 
fabric. 

Egyptian,  6th  to  7th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

9.  Coptic  fragments.  Found  in  graves  in  Akhmin, 

Egypt. 

1st  to  2nd  century,  A.  D. 

Lent  by  the  Museum  of  Providence,  R.  I. 

10.  Collection  of  Coptic  and  Saracenic  textiles  from 

from  Egyptian  tombs. 

4th,  6th,  and  8th  centuries  A.  D. 

11.  Egypto-Roman  tunic,  linen  with  tapestry  decoration, 

from  Egyptian  cemeteries. 

Egyptian  6th  to  7th  century. 

Lent  by  Robert  de  Rustafjaell,  London. 

12.  Coptic  tapestry. 

Lent  by  Robert  de  Rustafjaell,  London. 

13.  Coptic  tapestry. 

Lent  by  Robert  de  Rustafjaell,  London. 

14 . Coptic  tapestry 

Egyptian  5th  to  7th  century. 

Lent  by  Robert  de  Rustafjaell,  London. 

15 . Coptic  tapestry. 

Egyptian  5th  to  7th  century. 

Lent  by  Robert  de  Rustafjaell1,  London 

16.  Coptic  tapestry,  representing  a flying  angel. 
Egyptian  4th  to  5th  century. 

Lent  by  Robert  de  Rustafjaell,  London. 

17.  Coptic  tapestry,  representing  a hare. 

Egyptian  4th  to  5th  century. 

Lent  by  Robert  de  Rustafjaell,  London. 


20 


18.  Tunic  of  red  Coptic  tapestry  work  with  original  or- 

namental clavi  and  medallions. 

Egyptian,  Coptic,  6th  to  7th  century. 

Lent  by  Dr.  Tabet,  N.  Y.  C. 

% 

19.  Square  of  Coptic  tapestry  work  with  central  horse- 

man and  smaller  medallions  with  figures,  fruit  and 
animal  forms. 

Egyptian,  Coptic,  5th  to  6th  century. 

Lent  by  Dr.  Tabet,  N.  Y.  C. 

20 . Fragments  of  bands  woven  in  blue  tapestry  work  on 

white  ground. 

Egyptian,  Coptic,  5th  to  6th  century. 

Lent  by  Dr.  Tabet,  N.  Y.  C. 

21.  Medallion  in  red  tapestry  work  with  figures  in  yel- 

lows and  green,  outlined  in  black. 

Egyptian,  Coptic.  6th  to  7th  century. 

Lent  by  Dr.  Tabet,  N.  Y.  C. 

22 . Fragments  of  three  arids.  Tapestry  work  in  Tyrian 

purple  on  linen  ground. 

Egyptian,  Coptic,  5th  to  6th  century. 

Lent  by  Dr.  Tabet,  N.  Y.  C. 

23.  Fragment  of  band  in  tapestry  work  woven  in  red, 

green  and  black  with  grotesque  bird  and  animal 
forms  in  medallions. 

Egyptian,  Coptic,  6th  to  7th  century. 

Lent  by  Dr.  Tabet,  N.  Y.  C. 

24.  Coptic  fragments.  Found  in  graves  in  Akhmin, 

Egypt. 

1st  to  2nd  century,  A.  D. 

Lent  by  the  Museum  of  Providence,  E.  I. 

25.  Brocade.  Medallion  with  horsemen  spearing  beasts. 

Modern  imitation  of  an  Alexandrian  weave  of  the 
6th  to  7 th  century. 


21 


II.  Saracenic  Textiles. 

Found  in  Egyptian  Tombs,  7th  to  12th  centuries. 

26.  Saracenic  tunic  with  tapestry  decoration 
Egyptian,  7th  to  8th  century. 

Lent  by  Robert  de  Rutafjaell,  London. 

27.  Large  fragment  of  Arabic  silk  tapestry,  composed 

in  stripes  of  interlaced  ribbons  with  small  medal- 
lions containing  animals.  Very  fine  tapestry. 
Egyptian,  7th  to  8th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

28.  Small  fragments  of  Arabic  cilk  tapestry  with  in- 

scriptions. 

Egyptian,  7th  to  8th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

29.  Saracenic  fragment. 

7th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

30.  Thirteen  fragments  of  Coptic  and  Arabic  tapestry 

weaves. 

Egyptian,  4th  to  7th  century. 

Lent  by  the  Metropolitan  Museum,  N.  Y.  C. 

III.  Early  Mediaeval  Textiles. 

Derived  from  the  Sassanian  type  of  composition. 

(Medallions — animals  or  human  figures  facing  each  other.) 
(Persia,  Byzantium,  Italy,  Germany). 

31.  Silk  brocade.  Elephants,  griffins  and  hippocamps 

in  round  medallions,  red  and  yellow  silk  on  green 
ground.  Very  important  specimen,  showing  the 
influence  of  the  Sassanian  silk  patterns  on  the 
Byzantine  fabrics. 

Byzantium,  11th  century. 

Lent  by  Cooper  Union  Museum.  N.  Y.  C. 


22 


32.  Weave  of  silk  and  linen  with  a design  of  parrots  in 

arches. 

German,  Cologne  or  Regensburg,  13th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

33.  Silk  brocade,  green  and  salmon  red.  Huge  eagles 

carrying  animals  in  their  claws.  Very  important 
specimen  of  the  textile  art  of  the  11th  century, 
Probably  Sicilian,  Palermo. 

Lent  by  Coolper  Union  Museum,  N.  Y.  C. 

34.  Damask  woven  in  two  shades  of  mauve  with  touches 

of  silver  thread.  Design  of  palmettos  with  op- 
posed parrots  and  antelopes. 

Sicilian,  Palermo,  13th  century. 

Lent  by  Dr.  Denman  Ross,  Boston. 

35.  Damask.  Green  silk  woven  with  silver  thread  in  a 

symmetrical  design  of  palmettes,  alternating  with 
griffins  and  parrots  arranged  in  pairs. 

Italian,  12th  to  13th  century,  271/2xll  inches. 

Lent  by  tht  Metropolitan  Museum  of  Art 

36.  Damask.  Yellowish  green  silk  with  silver  thread 

and  touches  of  red.  Design  similar  to  preceding 
(No,  12.166.) 

Italian,  12th  to  13th  century,  15y2x9  inches. 

Lent  by  tht  Metropolitan  Museum  of  Art. 

IV.  Italian  Fabrics  (Lucca,  13th  to  14th  century. 

37.  Fabric  of  wool  and  cotton,  black  and  dark  mauve. 

Parrots  and  antelopes,  in  opposed  groups. 

Italian,  probably  Lucca,  13th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

38.  Brocade.  Mauve  satin  brocaded  in  gold,  with  a de- 

sign of  eagles  bearing  inscribed  scrolls,  alternat- 
ing with  medallions  framing  a seated  animal  form. 
Italian,  Lucca,  13th  century. 

Lent  by  H.  E.  Wetzel,  Boston,  Mass. 


23 


39  Gold  brocade  on  green  ground.  Lions  and  phoenixes 
oipposed. 

Sicily,  13th  to  14th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

40.  Grey  mauve  silk  fabric,  with  gold  brocade  decora- 

tion. Symmetric  groups  of  dogs  hunting  birds  and 
conventionalized  branches. 

Italian,  Lucca,  14th  to  15th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

41 . Brocade.  Mauve  ground  with  pattern  of  leaves  and 

peacocks  in  yellow  and  gold  thread. 

Italian,  14th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

42.  Brocade,  woven  in  silk  with  design  of  palmettos, 

with  eagles  and  lions  wrought  in  silver  thread. 
Italian,  Lucca,  14th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

43.  Silk  brocade,  black  and  green  conventionalized  branch- 

es and  griffins. 

Italian,  14th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

44.  Brocade.  Mauve  satin  ground  with  censing  angels 

in  gold  thread.  Fragment  of  ecclesiastical  fabric. 
Italian,  about  1400. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

45.  White  silk  damask  of  extraordinary  quality  with 

pattern  of  'birds  and  scroll  work.  This  fabric 
strongly  Chinese  in  character  is  a very  good  speci- 
men showing  the  influence  of  Chinese  textiles,  ex- 
ported at  that  period  to  Egypt  and  other  western 
countries. 

Italian,  probably  Lucca,  14th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 


24 


46. 


Gold'  brocade  with  huge  curved  stems  and  phoenixes. 

This  fabric  shows  a strong  Chinese  influence. 
Italian,  probably  Lucca,  14th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 


V.  English  Embroideries, 

(Opus  Anglioanum). 

47.  Panel  of  ecclesiastical  embroidery,  showing  the  Cru- 

cifixion with  the  Virgin  and  St,  John;  at  the  right 
of  the  cross,  St.  James  and  St.  Peter;  at  the  left, 
St.  Paul  and  St.  Andrew.  In  the  spandrels  of  the 
arcade  the  arms  of  Edward  I and  his  Queen,  Elean- 
or of  Castile. 

English,  about  1290. 

Lent  by  J.  P.  Morgan,  N.  Y.  C. 

48.  Set  of  14  embroideries,  from  the  Victor  Gay  collec- 

tion. 

English,  14th  century. 

Lent  by  M.  Golden  Dearth,  N.  Y.  C. 

49.  Chasuble  of  green  Gothic  velvet  with  the  pineapple 

motif  embroidered  in  gold. 

English,  15th  century. 

Lent  by  J.  P.  Morgan,  N.  Y.  C. 


VI.  Italian  Textiles  15th  and  16th  centuries. 

50.  Green  velvet  with  conventionalized  flowers  and 
branches  in  gold  brocade. 

Italian,  Venice,  16th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C- 


25 


51.  Gold  brocade,  with  red  silk,  inspired  from  Oriental 

textiles.  During  the  15th  and  16th  centuries  was 
a very  vivid  commercial  intercourse  between  Italy 
(especially  Venice,  Genoa  and  Pisa)  and  the  near- 
er Orient.  Many  Oriental  textiles,  especially  car- 
pets were  exported  to  Italy  and  Italy  on  the  other 
hand  manufactured  fabrics,  especially  velvets  for 
exportation  to  the  Orient. 

Italian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

52 . Gold  brocade  with  gold  palmettes  on  green  ground. 
Italian,  15th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

53.  Velvet,  red,  conventionalized  flowers  on  yellow 

ground. 

Italian,  15th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

54.  Velvet.  Crimson  silk,  woven  in  cut  pile  with  an 

outlining  pattern  framing  gracefully  foliated  pal- 
mettos in  crimson  satin. 

Italian,  15th  century,  20y>x8  in. 

Lent  by  tht  Metropolitan  Museum  of  Art. 

55.  Cloth  of  silver.  Pattern  of  ogival  framing  and  the 

cone  motif  wrought  in  crimson  velvet  of  cut  and 
uncut  pile. 

Italian,  15th  century,  22x7y2  in. 

Lent  by  the  Metropolitan  Museum  of  Art. 

56.  Velvet  with  pomegranate  pattern,  mauve  and  gold. 
Italian,  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

57.  Velvet  brocade.  Mulberry  satin  ground  with  a pat- 

tern of  intersecting  medallions  composed  of  broad 
bands  of  cut  and  uncut  pile  encircling  convention- 
alized leaf  forms. 

Italian,  15th  century,  2iy2x21  in. 

Lent  by  the  Metropolitan  Museum  of  Art. 


26 


58.  Dark  red  silk  velvet,  pomegranate  pattern. 

Italian,  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

59.  Cut  velvet,  pomegranate  pattern. 

Italian,  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

60.  Fragment  of  a cope,  rich  Italian  velvet,  dark  red 

and  gold  threads,  pomegranate  pattern. 

Italian,  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

61.  Velvet.  The  ground  is  gold.  The  design  of  large 

cone  and  leaf-like  forms,  made  up  of  convention- 
al leaves  and  flowers,  is  of  red  cut  velvet  and 
cloth  of  gold,  detailed  in  places  with  loops  of  gold 
thread. 

Italian,  late  15th  to  16th  century. 

Lent  by  Mr.  Horatio  Curtis,  Boston,  Mass. 

62.  Two  specimens  of  dark  mauve  and  black  cut  velvet 

with  conventionalized  pomegranate  pattern. 
Italian,  about  1500. 

Lent  by  the  Museum  of  Providence,  R.  I. 

63.  Velvet,  pomegranate  pattern,  blue  and  goldt 
Italian,  Venetian,  15th  to  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

64 . Two  specimens  of  red  silk  velvet,  pomegranate  pat- 

tern. “ Velours  ferronerie.” 

Italian,  end  of  15th  or  first  of  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

65.  Fragment  of  a fabric  with  a repeated  representation 

of  the  “assumption  of  the  Holy  Virgin/’  Gold 
brocade  on  red  ground. 

Italian,  about  1500. 

This  type  of  strip-shaped  fabric,  about  7 to  8 in, 
wide,  has  been  manufactured  to  form  the  middle 


27 


part  of  the  chasubles.  (The  left  and  the  right  one 
being  formed  by  velvets  or  silk  brocades).  Similar 
strips  have  been  manufactured  for  the  German  mar- 
ket in  Cologne.  The  Italian  ones  have  been  manu- 
factured in  Lucca  and  Florence  and  show  a strong 
influence  of  the  contemporaneous  Florentine  paint- 
ing, Ghirlandajo,  Botticelli. 

Lent  by  the  Museum  of  Providence,  R.  I. 

66.  Similar  strip-shaped  gold  brocade  as  No.  204  for 

the  middle  of  the  chasuble  with  the  representa,- 

tion  of  the  “Resurrection”  in  the  characteristic 

Italian  conception  of  this  scene. 

(In  the  Italian  representations,  the  Christ  is  al- 
ways represented  standing  solemnly  on  a small  cloud 
in  the  air  over  the  open  tomb.  In  the  northern  rep- 
resentations, Germany,  etc.,  the  Christ  is  represen- 
ted stepping  out  of  the  tomb). 

Lent  by  the  Museum;  of  Providence,  R.  I. 

67.  Similar  fabric  with  the  initials  of  the  cross  in  a sun- 

shaped  medallion  and  winged  heads  of  angels. 

Gold  brocade  on  red  ground. 

Florentine,  15th  to  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

68.  Similar  fabric.  Silver  brocade  on  buff  ground. 

Winged  heads  of  angels,  the  Holy  Virgin,  and  the 

initials  of  the  cross  in  sun-shaped  medallion. 
Florentine,  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

69.  Similar  fabric.  Silver  brocade  on  red  ground  with 

the  representation  of  the  “Annunciation.” 
Florentine,  second  haalf  of  15th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

70.  Similar  fabric  with  angels’  heads  and  cross  initials. 

Yellow  and  buff  silk  brocade. 

Florentine,  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 


28 


71. 


Similar  fabric  with  the  “Adoration  of  the  Virgin.’ 1 
Silver  brocade  on  buff  ground  with  inscription 
“Verbum  factum  est  caro.,, 

Lent  by  the  Museum  of  Providence,  R.  I. 

72.  Similar  strip  for  chasuble.  Two  angels  holding  the 

cross.  Silver  brocade  on  red  ground. 

Florentine,  15th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

73.  Similar  fabric.  Silk  brocade  on  green  ground  with 

representation  of  the  “ Annunciation.  ’ ’ 

Florentine,  early  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

74.  Portion  of  orphrey.  Woven  in  crimson  silk  and 

gold  thread  with  a repeating  design  showing  the 
Coronation  of  the  Virgin. 

Probably  Venetian,  16th  century.  261/4x71/4  in. 

Lent  by  the  Metropolitan  Museum  of  Art. 

75.  Italian  silver  brocade,  renaissance  pattern. 

Italian,  16th  century. 

Lent  by  Duveen  Bros.,  N.  Y.  C. 

76.  White  corded  silk  ground  woven  with  narrow  strips 

of  silver.  The  design  of  stripes  of  flowering 
stems,  with  pairs  of  birds  on  them,  and  vases  of 
conventional  flowers,  is  woven  with  yellow  silk 
and  outlined  and  detailed  with  red. 

Italian,  16th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

77.  Brocade.  Yellow  on  green  mauve  ground.  Pome- 

granate pattern.  In  some  details,  Oriental  influ- 
ence. 

Venetian,  16th  century,  (early). 

Lent  by  the  Museum  of  Providence,  R,  I. 


29 


78.  Silk  fabric.  Green  and  crimson  on  yellow  ground. 

A symmetrical  composition  of  curved  stems  with 
different  flowers.  Fabric  very  strongly  influenc- 
ed by  the  contemporary  Turkish  silks  of  Brussa 
and  the  Anatolian  (so-called  Rhodian)  pottery. 
Venice,  middle  of  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 
Note — The  Venetian  textile  industry  not  only  worked 
on  a large  scale  for  exportation  to  the  Orient,  but 
on  the  other  hand  received  much  inspiration  from 
the  Orient  for  the  composition  of  patterns,  destined 
for  the  European  market.  This  fabric  is  a speci- 
men of  the  latter  type. 

79.  Brocatelle.  Conventionalized  floral  pattern  with 

scrolls  and  birds.  Colors : mauve,  gold  and  silver. 
Italian,  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

80.  Brocatelle.  Conventionalized  scroll  ork,  blue  and 

yellow  silk. 

Italian,  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

81 . Damiask.  Woven  in  cream  colored  silk  in  a repeating 

pattern  of  highly  conventionalized  floral  stems. 
Italian,  16th  century.  43x19  in. 

Lent  by  Metropolitan  Museum  of  Arr. 

82.  Two  brocades.  Gold  on  mauve  ground.  Convention- 

alized flower  pattern. 

Italian,  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

83.  Woolen  velvet.  Woven  in  alternate  stripes  of  red 

and  green  with  scenes  from  a boar  hunt,  in  shades 
of  tan. 

Spanish  or  Italian,  16th  century.  From  the  Pares 
Collection.  20y2xl2  in. 

Lent  by  Metropolitan  Museum  of  Art. 


30 


84.  Cloth  of  gold.  A serpentine  trunk  pattern  with  the 

pomegranate  and  conventionalized  leaf  and  floral 
motifs  wrought  in  crimson  velvet. 

Spanish  or  Italian,  about  1520.  85x231/4. 

Lent  by  Metropolitan  Museum  of  Art. 

85.  Velvet,  pomegranate  pattern. 

Italian,  16th  century. 

Lent  by  Dikran  Kelekian,  N,  Y.  C, 

86.  Brocatelle.  Flower  vases  with  huge  groups  of  con- 

ventionalized flowers.  Yellow,  blue  and  red  on 
dark  mauve  ground.  Very  good  specimen  showing 
development  of  the  pomegranate  pattern. 

Italian,  second  half  of  16th  century. 

Lent  by  the  Museum  of  Providence,  R I. 

87.  Crimson  and  gold  velour  de  Gene,  typical  of  one  of 

the  finest  patterns  of  the  Renaissance.  This  ma- 
terial was  used  for  the  border  or  frieze  in  a room. 
2 ft.x6  ft. 

Italian,  16th  century. 

Lent  by  French  & Co.,  N.  Y.  C. 

88.  Fabric,  silk  and  linen,  renaissance  scroll  work,  green 

and  yellow. 

Italian,  second  half  of  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

89.  Brocade.  Green  and  mauve.  Floer  pattern. 
Italian,  second  half  of  16th  century. 

Lent  by  the  Museum  of  Providence,  R I. 

90.  Silk  fabric.  Salmon  pink  on  green  ground,  some 

with  flowers. 

Italian,  second  half  of  16th  century. 

Lent  by  the  Museum  of  Providence,  R I. 


31 


VII.  Ecclesiastical  Vestments.  Italian,  16th  century. 

91.  Chasuble  in  cloth  of  silver  and  gold  with  an  outline 

design  of  renaissance  vases  and  conventionalized 
floral  forms  wrought  in  crimson,  green  and  blue. 
Italian,  16th  century. 

Lent  by  J.  P.  Morgan,  N.  Y.  C. 

92.  Chasuble  of  ivory  satin  damask  woven  in  a bold 

design  of  conventionalized  floral  forms,  with  or- 
phreys of  crimson  velvet  richly  embroidered  in 
gold. 

Italian,  16th  century. 

Lent  by  J.  P.  Morgan,  N.  Y.  C. 

93.  Chasuble  of  crimson  velvet  with  orphreys  of  green 

embroidered  in  gold  showing  medallions  portraits 
of  the  saints. 

Italian,  16th  century. 

Lent  by  J.  P.  Morgan,  N.  Y C. 

94.  Chasuble  of  crimson  velvet  with  a tracery  of  gold 

embroidery  and  rich  orphreys  with  medallion  por- 
traits of  saints  wrought  in  gold. 

Italian,  16th  century. 

Lent  by  J.  P.  Morgan,  N.  Y.  C. 

95.  Cope  of  blue  silk  Genoese  velvet. 

Italian,  16th  century. 

Lent  by  J.  P.  Morgan,  N.  Y.  C. 

96.  Chasuble,  with  green  squares  of  applied  and  gold 

tissue  embroidery. 

Italian,  16th  century. 

Lent  by  Duveen  Bros.,  N.  Y.  C. 

97.  Cope,  brocade;  red  ground  with  conventionalized 

floral  forms  arranged  in  lozenge  pattern. 

Italian,  end  of  16th  century. 

Lent  by  Mrs.  R.  A.  Polhemus,  N.  Y.  C. 


32 


98.  Dalmatique  Benaissance  green  velvet  with  embroid 

ered  squares  of  green  satin  and  gold  and  silver  tis- 
sue. 

Italian,  16th  century. 

Lent  by  Duveen  Bros.,  N.  Y.  0 

99.  Dalmatique.  Crimson  Italian  Gothic  velvet  with 

squares  of  rich  Spanish  gold  brocade  of  pine  and 
pomegranate  motifs. 

Italian  and  Spanish,  15th  and  16th  centuries. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

100.  Dalmatique.  Cloth  of  gold  with  pomegranate  motif 

in  crimson  velvet.  Panels  of  applied  embroidery 
in  gold  and  silver  on  crimson  satin. 

Italian,  Venetian,  16th  century. 

Lent  by  Brooklyn  Museum. 

101.  Antependium  (altar  frontal).  Cloth  of  gold,  pome- 

granate and  pineapple  motifs  in  crimson  velvet. 
Edged  at  top  with  satin  border  of  applied  em- 
broidery in  green,  blue  and  yellow  on  crimson  satin. 
Italian,  16th  century. 

Lent  by  Brooklyn  Museum. 

VIII.  Italian  Fabrics. 

102.  Velvet  brocade.  Ground  of  mulberry  uncut  velvet 

with  ogival  pattern  in  the  same  shade  woven  in 
cut  pile. 

Italian,  16th  to  17th  century.  91/2x71^. 

Lent  by  the  Metropolitan  Museum  of  Art. 

103.  Velvet  brocade.  Yellow  satin  ground  with  pattern 

in  the  same  tone  woven  in  cut  and  uncut  pile. 
Italian,  16th  to  17th  century.  61^x6  in. 

Lent  by  the  Metropolitan  Museum  of  Art 

104.  Velvet.  Large  floral  pattern.  Dull  blue.  Mauve 

and  cerise  on  buff  ground. 

Italian,  early  17th  century. 

Lent  by  the  Museum  of  Providence,  B.  I. 


33 


105.  Velvet  brocade.  Mauve  satin  ground  with  design 

woven  in  cut  and  uncut  velvet. 

Italian,  16th  to  17th  century.  9y2x 8 in. 

Lent  by  Metropolitan  Museum  of  Art 

106.  Velvet  brocade.  Ground  woven  in  sage  green  silk 

with  velvet  pattern  in  tan  color. 

Italian,  16th  to  17th  century.  8x4  in. 

Lent  by  Metropolitan  Museum  of  Arc. 

107.  Velvet  brocade.  Garnet  satin  ground  with  a small 

pattern  of.  ogival  framing  and  cone  motif  wrought 
in  dark  green  velvet  of  cut  and  uncut  pile. 
Italian,  16th  to  17th  century.  9x8  in. 

Lent  by  Metropolitan  Museum  of  Art. 

108.  Velvet  brocade.  Design  woven  in  blue  velvet. 
Italian,  16th  to  17th  century.  11%x41/4  in. 

Lent  by  Metropolitan  Museum  of  Art. 

109.  Brocade.  Pinkish  lavender  ground  with  a close  de- 

sign of  branches  of  various  conventional  flowers 
and  leaves,  woven  with  silver  thread. 

Italian,  late  16th  to  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

110.  Dark  mauve  velvet  on  silver  ground  with  the  instru- 

ments of  the  passion.  Renaissance  ornaments. 
Italian,  Venice,  16th  to  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

111.  Velvet.  Pinkish-red  silk  ground.  On  this  are  rows 

of  leafdike  forms,  turning  first  to  the  right  and 
then  to  the  left.  The  design  is  of  green  cut  and 
uncut  velvet. 

Italian,  16th  to  17th  century. 

Lent  by  Mr.  Horatio  Curtis,  Boston,  Mass. 


34 


112.  Brocade.  The  ground  is  of  pink  silk  and  narrow 

strips  of  silver  gilt.  The  design  of  a powder  of 
conventional  leaves  curved  to  form  round  spots, 
is  woven  with  white  selk  and  silver  gilt. 

Italian,  16th  to  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

113.  Brocade.  Yellow  silk  ground,  the  design  of  leaves 

and  flowers  is  woven  with  red  silk;  at  intervals 
are  larger  flowers  and  seed-vessels  woven  with 
yellow  silk  wound  with  thin  strips  of  silver  gilt. 
Running  through  the  whole  material  are  thin  strips 
of  much  tarnished  silver  gilt. 

Italian,  late  16th  to  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

114.  Brocade.  The  ground  is  of  white  satin.  The  design 

of  an  ogival  framework  enclosing  palmette-like 
forms,  from  which  spring  leaves  and  flowers  in 
profile,  is  of  yellow  and  red.  The  main  part  of 
the  design  is  yellow ; the  outline  and  small  flowers 
are  red. 

Probably  Italian,  16th  to  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

115.  Brocade.  Violet  damask  ground,  with  the  design 

of  conventional  flowers  woven  with  gold  thread. 
Italian,  16th  to  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

116.  Brocade.  The  ground  is  woven  with  violet  silk  and 

silver  wire.  The  design  of  sprays  of  conventional 
flowers,  is  of  yellow  silk,  silver  wire  and  gold 
thread,  and  is  outlined  with  violet  silk. 

Italian,  16th  to  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

117.  Velvet  brocades  (15  specimens). 

French  or  Italian,  16th  to  17th  century. 

Lent  by  Metropolitan  Museum  of  Art. 


35 


118.  Brocade.  Blue  satin  ground  on  which  is  woven  with 

white,  light  green,  tan-colored  and  faded  pink  silk 
a design  of  rows  of  birds  standing  on  sprays  of 
flowers. 

Probably  Italian,  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

119.  Crimson  velvet  cavalier’s  coat,  trimmed  with  gold 

gal  o on. 

Italian,  17th  century. 

Lent  by  French  & Co.,  N.  Y.  C. 

120.  Child’s  costume  (2  pieces).  Gold  brocade  with  pur- 

ple satin  ground  and  an  all  over  pattern  of  inter- 
lacing bands  and  foliated  scrolls. 

Italian,  17th  century.  No.  1 length  8 in.  No.  2 
length  19  in. 

Lent  by  Metropolitan  Museum  of  Art. 

121.  Velvet  brocade.  Mulberry  satin  ground  with  regu- 

larly placed  conventionalized  floral  forms  wrought 
in  an  open  weave,  and  a raised  design  of  foliated 
scrolls  in  cut  and  uncut  pile. 

Italian,  17th  century.  2iy2x2iy2  in. 

Lent  by  Metropolitan  Museum  of  Art. 

122.  Velvet,  conventionalized  flower  pattern  in  red  and 

green  silk  velvet  on  silver  ground,  so-called  vel- 
ours jardiniere.” 

Italian,  Genoese,  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

123.  Brocade.  Yellow  silk  ground  on  which  is  woven 

with  blue  silk,  a design  of  conventional  leaves  and 
flowers. 

Probably  Italian,  17th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

124.  Brocade.  Salmon  pink  ground.  Close  design  of 

leaves,  flowers,  etc.,  in  gold,  green,  blue  and  sil- 
ver. Gold  lace  edge.  Coarse  linen  lining. 
Italian,  17th  century. 

Lent  by  Mr.  Horatio  Curtis,  Boston,  Mass. 


36 


125. 


Fragment  of  a Genoese  velvet  red  and  green  on  sil- 
ver ground.  So-called  “ jardiniere”  type. 

Italian,  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

126.  Brocade.  Blue  satin  ground  woven  in  a design  of 

conventionalized  floral  motifs  and  castles  in  blue, 
with  animal  forms  embroidered  in  silver. 

Italian,  17th  to  18th  century. 

Lent  by  Metropolitan  Museum,  N.  Y.  C. 

127 . Robe  of  silk  brocade.  White  ground  with  floral- 

sprays  in  bright  colors,  gold  and  silver  threads. 
Italian,  Venetian.  18th  century. 

Lent  by  Luigi  Orselli 


IX.  Spanish  Textiles. 

128.  Silk  fabric.  Blue  damask  ground  with  arabesque 

scroll  work  and  the  coat  of  arms  of  the  Patala 
family,  executed  in  gold  brocade.  Another  piece 
of  this  fabric  in  the  Errera  Collection  at  the 
Musee  du  Cinquantenaire  in  Brussels. 

Spain,  14th  to  15th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

129 . Gold  brocade  on  blue  ground,  conventionalized 

branches  and  griffins. 

Spanish,  15th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

r 

130.  Brocade.  Crimson  satin  ground  with  opposed  lions 

in  yellow,  framed  in  black  arabesques. 

Spanish,  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

131.  Red  and  gold  ground  brocaded  cope  enriched  with 

gold  tinsel  and  woven  in  a pomegranate  design, 
a favorite  pattern  for  the  rich  textiles  of  the  fif- 


37 


teenth  century.  It  is  ascribed  to  the  famous  em- 
broiderers of  Toledo.  The  embroideries  on  the 
cope  represent  the  Adoration  of  the  Magi,  the 
Presentation  in  the  Temple,  the  Assumption,  the 
Nativity,  the  Annunciation,  the  Meeting  of  St. 
Anne  and  St.  J oachim.  It  is  a processional  mantle 
or  cloak  worn  over  the  other  vestments. 

Lent  by  French  & Co.,  N.  Y.  C. 


132.  Gold  brocade,  with  loops  of  gold  thread.  Renaissance 

pattern. 

Spanish,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

133.  Cope.  Silk  brocade  with  a design  of  shields,  birds 

and  arabesque  wrought  in  yellow  on  a crimson 
ground.  Richly  embroidered  orphreys  in  gold. 
Spanish,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

134.  Brocade.  Crimson  satin  ground  woven  with  yellow 

and  blue  in  a delicately  traced  pattern  of  foliated 
scrolls  surmounted  by  the  double-headed  eagle. 
Spanish,  16th  to  17th  century.  44x37  in. 

Lent  by  Metropolitan  Museum  of  Art. 

135.  Brocade  with  ornament  in  gilt  tinsel,  outlined  with 

faint  salmon  color  on  cream  ground.  40x40  inches. 
Spanish,  18th  century. 

Lent  by  French  & Co.,  N.  Y.  C. 

136.  Child’s  bodice.  White  brocade  with  a bold  pattern 

of  conventionalized  floral  forms  woven  in  pink, 
blue  and  gold  silk. 

Spanish  (?),  17th  century.  17x8  in. 

Lent  by  Metropolitan  Museum  of  Art. 

137 . Lampas.  Steel  gray  grosgrain  silk  ground  decorated 

with  a polychrome  pattern  of  conventionalized 
floral  forms;  iris,  carnation  and  tulip. 

Spanish,  middle  of  18th  century.  51x421/2  inches. 

Lent  by  Metropolitan  Museum  of  Art 


38 


138.  Brocade.  Blue  ground  with  a bold  pattern  in  satin 

damask  brocaded  with  rococo  arabesques  in  silver 
thread. 

Italian,  middle  of  18th  century.  20x20  in. 

Lent  by  Metropolitan  Museum  of  Art. 

139.  Brocade.  Ground  of  alternate  stripes  of  pink  and 

yellow  woven  in  an  undulating  pattern  of  orna- 
mented bands,  an  overspun  floral  design  in  silver 
thread  and  polychrome  silks. 

Venetian,  18th  century.  301/4x21  in. 

Lent  by  Metropolitan  Museum  of  Art. 

140.  Brocade.  Light  blue  with  design  in  gold  and  silver. 
Italian,  18th  century. 

Lent  by  Luigi  Orselli. 

141.  Brocade  with  rich  pattern  of  huge  conventionalized 

flowers  and  stems  executed  in  gold  and  silver 
thread  on  white  damask  ground. 

Italian,  Venetian,  first  half  of  18th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

142.  Brocade.  The  ground  is  woven  with  violet  silk  and 

gold  thread.  ;The  design  of  long  conventional 
branches  forming  an  ogival  framework  and  en- 
closing bunches  of  lilies,  a pelican  feeding  its 
young  and  a bishop’s  mitre  and  cross,  is  woven 
with  yellow  silk  and  outlined  with  dark  red  silk. 
The  gold  thread  of  the  background  runs  through 
the  pattern. 

Italian  or  Spanish,  probably  17th  to  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

143.  Brocade.  Light  blue,  with  design  in  silver. 

Italian,  18th  century. 

Lent  by  Luigi  Orselli. 

144.  Gold  brocade.  Conventional  scroll  work  and  flow- 

ers in  gold  on  salmon  pink  ground  in  damask  tech- 
nique. Very  good  specimen  of  Venetian  fabric. 
18th  century. 

Lent  by  the  Museum  of  Providence,  R I. 


39 


X.  French  Textiles. 


145 . Tapestry  of  1426  representing  Louis  de  Beaufort  and 
Jeanne  de  Norry. 

This  precious  tapestry,  possessed  by  Madame  de  La- 
garde  at  Toulouse,  is  of  great  artistic  and  archae- 
ological value. 

It  represents  Louis  de  Beaufort,  Lord  of  Aubusson, 
in  Auvergne,  Count  of  Alais  Lord  of  Canillac,  etc., 
and  Jeanne  de  Norry,  his  wife. 

Louis  is  represented  with  his  wife,  occupied  in  tam- 
ing a,  falcon.  She  is  seated.  He,  standing,  holds 
a wand  (probably  intended  to  make  a perch  for 
the  falcon). 

The  tapestry  sown  with  flowers,  in  the  fashion  of 
old  manuscripts  of  the  15th  century,  bears  these 
repeated  words : To  Moult,  that  is  to  say  in  chang- 
ing, in  explaining  thus  the  emblem  of  the  compass 
which  changes  the  ways. 

The  costume  of  the  personages  is  truly  that  of  the 
time  of  Charles  7th. 

A hennin  as  coiffure  for  Jeanne  de  Norry.  A close 
coat  and,  swaddling  band  (maillot),  pointed  boots 
for  Louis  de  Beaufort. 

This  tapestry  was  woven  in  1426,  at  the  time  of  their 
marriage.  It  bears  two  coats  of  arms.  That  on 
the  left  is  Part  1,  cutting  of  Roger  Beaufort  (a 
band  and  six  roses  in  a border) ; Part  2,  cutting  of 
Canillac  (a  greyhound  and  a composed  border) ; 
Part  2,  cutting  of  Norry  a Fasce. 

Louis  de  Beaufort,  whose  true  name  is  Roger  de 
Beaufort,  was  the  grandson  of  William  1st,  of 
Roger,  Count  of  Beaufort,  Lord  of  Canillac,  Baron 
d’Herment  (Auvergne),  brother  of  Pope  Clement 
6,  who  was  father  of  Marquis  1st  Comte  de  Beau- 
fort, Viscount  de  la  Mothe,  Lord  of  Pont-du-Cha- 
teau,  married  in  1369  to  Catherine  Dauphine  d’ 
Auvergne,  from  whom  he  had  Louis  de  Beaufort, 
married  in  1426,  on  his  first  marriage  to  Jeanne 


40 


de  Norry  (borne  on  the  tapestry),  and  on  his  sec- 
ond marriage  to  Jeanne  de  Montboissier. 

Louis  de  Beaufort  and  Jeanne  de  Norry  had  for 
children,  Isabeau  de  Beaufort,  married  in  1459  to 
Jean  de  Montboissier,  Lord  of  Aubusson,  of  Bois- 
sonelle,  of  Montboissier,  etc.  She  (Isabeau)  was 
sister  of  Jacques  de  Beaufort,  Count  d’Alais,  Lord 
of  Canillac,  who  being  the  last  of  his  name,  left 
all  his  worldly  goods  in  1511  to  Jacques  de  Mont- 
boissier, grandson  of  his  sister  Isabeau,  with  the 
charge  to  bear  the  names  and  arms  of  Beaufort 
Canillac,  (which  the  de  Montboissier s have  respec- 
ted faithfully  ever  since).  These  last  named  are 
represented  now  in  Paris  by  the  Marquis  de  Mont- 
boissier Canillac,  their  only  descendant. 

Lent  by  Duveen  Bros.,  N.  Y.  C. 

146.  Seventeenth  century  Gobelins  tapestry.  Charles  Le 
Brun,  director  of  the  Royal  Gobelins  Establish- 
ment, painted  (1660-68)  five  pictures  illustrating 
episodes  in  the  life  of  Alexander  the  Great,  to  be 
reproduced  in  tapestries.  The  scenes  are  as  fol- 
lows : 

4 ‘Alexander  at  the  Tent  of  Darius.” 

“The  Battle  of  the  Granicus.” 

“The  Defeat  of  Darius  at  Arbela.” 

“The  Defeat  of  Porus.” 

“Triumph  of  Alexander.” 

The  tapestry  which  is  the  subject  of  this  monograph 
is  “The  Defeat  of  Porus.” 

These  tapestries  became  very  popular.  They  were 
reproduced  at  the  Gobelins  several  times,  and  were 
also  copied  extensively  in  Flemish  and  Aubusson 
weaves.  The  two  last-named  weaves,  however,  do 
not  possess  the  magnificence  of  the  Gobelins  pro- 
ductions in  texture,  color,  or  drawing.  The  char- 
acteristics of  Gobelin  tapestries  are  fine  weave, 
beautiful  variation  of  color,  and  very  careful  and 
accurate  drawing.  The  greatest  Gobelins  tapes- 
tries were  made  during  the  last  quarter  of  the 


41 


seventeenth  century,  though  up  to  1790  many  im- 
portant examples  were  produced. 

Lent  by  French  & Co.,  N.  Y.  C. 

147 . Brocade.  The  ground  is  of  white  satin.  The  design 

of  long  curving  leaves,  flowers  and  pomegranate 
like  forms,  is  woven  with  white,  light  blue,  light 
green  and  light  red  silk,  and  gold  thread. 
Probably  French  or  Italian,  17th  to  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

148.  Dalmatique  of  medium  blue  ground  silk  brocade  with 

bunches  of  flowers  and  leaves  in  color  and  gold 
ornamentation. 

Louis  XIV,  French. 

Lent  by  French  & Co.,  N.  Y.  C. 

149 . Brocade.  Ground  of  ecru  silk  with  a vertical  design 

of  conventionalized  leaf  and  floral  forms  in  tan, 
blue  and  red. 

French,  17th  to  18th  century.  19^x15  in. 

Lent  by  Metropolitan  Museum  of  Art. 

150.  Damask.  Ground  of  plum  color  with  a symmetrical 

design  of  conventionalized  floral  motif. 

French,  17th  to  18th  century.  Period  of  Louis  XIV, 
1643-1715.  25^x101/2  in. 

Lent  by  Metropolitan  Museum  of  Art. 

151.  Brocade.  Blue  damask  ground.  On  this  is  a design 

of  houses  and  large  conventional  flowers  woven 
with  yellow,  green,  pink  and  white  silk. 

French,  late  17th,  early  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

152.  Brocade.  Blue  satin  ground  with  a vertical  design 

of  long  pointed  leaves,  conventionalized  peacock 
feathers  and  ornamented  bands  wrought  in  silver 
thread  with  white  silk. 

French,  17th  to  18th  century.  Period  of  Louis  XIV, 
1643-1715.  25x10  in. 

Lent  by  Metropolitan  Museum  of  Art. 


42 


153.  Brocade.  Gray  ground  with  a symmetrical  design 

of  vertical  sprays,  woven  in  bright  colored  silks 
springing  from  cornocopias  wrought  in  silver,  ar- 
ranged about  a central  motif. 

French,  17th  to  18th  century.  Period  of  Louis  XIV. 
1643-1715.  31x2014  in. 

Lent  by  Metropolitan  Museum  of  Art. 

154.  Brocade.  Ground  of  brown  satin  with  design  in  tan 

and  dull  shades  of  blue  and  pink. 

French,  17th  to  18th  century,  Louis  XIV,  1643-1715 
24x8  in. 

Lent  by  Metropolitan  Museum  of  Art. 

155 . Cover.  Cloth  of  gold,  and  silver  brocaded  with  florai 

sprays  and  renaissance  vases,  in  crimson,  green 
and  yellow. 

French,  17th  to  18th  century.  Period  of  Louis  XIV, 
1643-1715. 

Lent  by  Funaro  & Keller,  K.  Y.  C. 

156.  Brocade.  Satin.  Woven  in  old  rose  with  touches 

of  green.  Vertical  design  of  small  floral  forms 
framed  in  serpentine  bands. 

French,  about  1700.  Period  of  Louis  XIV,  1643-1715. 
321/4xl81/4  in. 

Lent  by  Metropolitan  Museum  of  An. 

157 . Damask.  Satin.  Old  gold  woven  in  a repeating  pat- 

tern of  conventionalized  leaves  and  pomegranate 
forms. 

French,  early  18th  century.  Period  of  Louis  XIV, 
1643-1715.  3iy2xl8y4  in. 

Lent  by  Metropolitan  Museum  of  An. 

158.  Velvet  ground.  Yellow  satin  ground  with  a symmet- 

rical pattern  of  large  central  palmettos  woven  in 
a warm  gray  of  cut  and  uncut  pile. 

French,  early  18th  century.  23x221/2  in. 

Lent  by  Metropolitan- Museum  of  Art. 


43 


159.  Woven  in  two  shades  of  gray  on  a grosgrain  ground  ; 

bold  design  of  .pomegranate  forms. 

French,  early  18th  century.  Period  of  the  Regency, 
1715-1723.  24y2xl9i/2  in. 

Lent  by  Metropolitan  Museum  of  Art. 

160 . Brocade.  Irregularly  shaped  medallions  with  sprays 

of  flowers  and  a chariot  drawn  by  cocks  bearing 
a female  figure  over  banked  clouds.  The  design 
woven  in  bright  colors  on  a background  of  brown 
chenille. 

French,  18th  century.  Period  of  the  Regency,  1715- 
1723.  53i/>x43  inches. 

Lent  by  the  Metropolitan  Museum  of  Art. 

161.  Lampas.  Dark  gray  grosgrain  silk  ground;  with 

design  in  lighter  shade  of  gray.  Highly  conven- 
tionalized pomegranate  forms  with  leaves  and 
small  flowers.  Ground  overshot  with  delicate 
scrolls  in  dark  gray. 

French,  early  18th  century.  Period  of  Louis  XVI. 
1643-1715.  231/2x20%  inches. 

Lent  by  Metropolitan  Museum  of  Art. 

162.  Brocade.  Yellow  silk  ground,  the  design  of  curving 

stems,  leaves  and  flowers,  is  woven  with  silver 
thread,  narrow  strips  of  silver,  white  and  pink. 
French.  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

163.  Brocade.  The  ground  is  of  corded  salmon  pink  silk : 

the  design  of  undulating  ribbons  and  bunches  of 
flowers,  is  woven  with  white  silk  and  silver  thread, 
cord  and  narrow  strips  of  silver.  The  design  is 
partially  worn  off. 

French.  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 


44 


164.  Brocade.  Woven  in  pink  and  gray  with  an  overspun 

pattern  of  floral  sprays  in  gray  on  ornamental 
bands  of  small  diaper  pattern. 

French,  18th  century.  Period  of  Louis  XV..  1715- 
1774.  22%x21  in. 

Lent  by  Metropolitan  Museum  of  Art. 

165.  White  damask  ground  covered  by  lines  and  dots  for- 

ming diamonds,  on  this  are  branches  of  flowers, 
woven  with  gold  thread. 

French,  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

166 . Brocade.  White  silk  brocaded  in  delicate  floral 

sprays  in  bright  colors  with  parts  of  the  pattern 
worked  in  white. 

French,  about  1760.  Period  of  Louis  XV.  1715- 
1774.  2414x21  in. 

Lent  by  Metropolitan  Museum  of  Art. 

167.  Brocade.  Ground  of  rose  violet  satin  ground  with 

design  of  interlacing  bands  and  conventionalized 
leaf  forms  in  gold  thread. 

French  or  Spanish,  18th  century.  11  %x9%  in. 

Lent  by  Metropolitan  Museum  of  Art. 

168.  Brocade.  Striped  ground  in  two  shades  of  brown 

brocaded  with  white  and  tan  silk  figures  alterna- 
ting with  others  in  gold  and  silver  thread. 

French,  18th  century.  1614x10 14  in. 

Lent  by  Metropolitan  Museum  of  Art. 

169.  Brocade.  White  silk  brocaded  in  blue  and  white; 

bold  floral  design. 

French, middle  18th  century.  Period  of  Louis  XV. 
1715-1774.  2714x18  in. 

Lent  by  Metropolitan  Museum  of  Art, 

170.  Brocade.  White  silk  ground  with  a design  of  bright 

colored  flowers  and  lace-like  bands,  forming  a 
frame.  Pattern  wrought  in  gold  and  green. 

French,  middle  of  18th  century.  2214x18  in. 

Lent  by  Metropolitan  Museum  of  Art. 


45 


171.  Brocade.  Yellow  satin  ground  with  overspun  rococo 

bands  in  the  same  shade;  brocaded  floral  sprays; 
leaves  rought  in  silver  thread  and  blossoms  in  dull 
tones  of  blue  and  red. 

French,  18th  century.  Period  of  Louis  XV.  1715- 
1774.  23i/2xl8%. 

Lent  by  Metropolitan  Museum  of  Art. 

172.  Brocade.  Red  satin  ground  with  an  all1  over  repeat- 

ing design  of  foliated  scrolls. 

French,  18th  century.  1 3%x8y2  in. 

Lent  by  Metropolitan  Museum  of  Art. 

173.  Brocade.  Crimson  ground  with  a design  of  lace-like 

ribands  in  white  entwined  among  neutralistic  flor- 
al sprays  in  bright  colors. 

French,  18th  century.  Period  of  Louis  XV.  7115- 
1774. 

Lent  by  the  Brooklyn  Museum. 

174.  Brocaded  Taffetta.  Light  blue  ground  with  indis- 

tinct pattern  in  silver  silk  and  sprays  of  flowers  in 
colors  with  green  leaves. 

French.  Period  of  Louis  XV.  5 ft.  2 in.x7  ft.  3 in. 

Lent  by  French  & Co.,  N.  Y.  C. 

175.  Tabeta  in  pink  color  with  ornament  in  silver  with 

floral  decoration  in  natural  colors.  1ft.  9in.x3ft.  4im 
French,  Louis  XV. 

Lent  by  French  & Co.,  N.  Y.  C. 

176.  Taffeta,  cream  ground  of  brocaded  damask  with  or- 

nament of  bunches  of  flowers  in  colors  and  silver. 
2ft  x 3 ft.  4 in. 

French.  Period  of  Louis  XV. 

Lent  by  French  & Co.,  N.  Y.  C. 

177.  Piece  of  brocaded  damask  in  beautiful  salmon  color 

with  ornament  in  gold  tinsel  and  silk,  interspersed 
with  flowers  in  silver  and  mauve  color  and  silver 
tinsel,  gold  galoon  edge.  38x39  inches. 

French.  18th  century. 

Lent  by  French  & Co.,  N.  Y.  C. 


46 


178.  Gold  brocade  with  bunches  of  flowers  in  brown,  rose 

and  blue  ornamentation  in  silver  tinsel.  5x7  ft. 
French.  Period  of  Louis  XV. 

Lent  by  French  & Co.,  New  York. 

179.  Silver  brocade  with  conventionalised  flowers  and 

scroll  work  on  salmon  ground. 

French,  18th  century. 

Lent  by  Mr.  Golden  Dearth,  N.  Y.  C. 

180.  Taffeta  Silk.  Cream  ground  with  a shot  pattern  of 

undulating  vines  and  detached  sprays  woven  in 
dull  reds  and  greens. 

French,  18th  century.  Period  of  Louis  XVI.  1774- 
1792.  47x271/2  in. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

181.  Lampas.  Light  blue  satin  ground;  design  in  cream 

color;  foliated  scrolls  springing  from  symmetri- 
cally placed  urns  supported  by  seated  figures,  and 
griffins. 

Period  of  Louis  XVI.  1774-1792.  105x44  in. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

182.  Damask.  Green  silk  brocaded  with  silver.  Striped 

design  with  shields  and  scrolls. 

French  or  Spanish,  late  18th  century.  211/^x2iy4:  in. 
Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

183.  Curtain.  Satin  brocade  woven  in  alternate  stripes 

of  pink  and  white  with  delicate  floral  siprays  in 
bright  colors. 

French,  18th  century.  Period  of  Louis  XVI.  1774- 
1792. 

Lent  by  Funaro  and  Keller,  N.  Y.  C. 

184.  Brocade.  Ground  woven  in  delicate  shade  of  green 

with  a vining  pattern  of  floral  sprays  in  natural 
colors.  , 

French,  18  th  century.  Louis  XVI.  1774-1792. 
15V2x7  in. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 


47 


185.  Brocade.  Cream  ground  with  a design  of  flowers  in 

colors  and  silver  tinsel. 

French,  18th  Century. 

32  inches  long  x 5 ft.  2 in.  wide. 

Lent  by  French  & Co.,  N.  Y.  C. 

186.  Brocade.  Cream  silk  ground  with  a design  of  ir- 
regularly placed  floral  sprays  woven  in  gold  thread 

and  dull  shades  of  blue,  green  and  pink. 

French,  18th  century,  period  of  Louis  XVI.  1774- 
1792.  24x93/4  in. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

187.  Brocade. Cream  ground  with  strips  of  gold  tinsel  and 

floral  ornamentation. 

French.  Period  of  Louis  XVI.  20  in.  x 22  in. 

Lent  by  French  & Co.,  N.  Y.  C. 

188.  Brocade.  Light  turquoise  blue  brocaded  silk  with 

ornament  in  silver  tinsel. 

French,  18th  Century. 

2 ft.  x 3 ft. 

Lent  by  French  & Co.,  N.  Y.  C. 

189.  Brocade.  Cream  ground  taffeta — exceptionaly  wide 

strip  for  hand  loom  product,  trimmed  with  very 
fine  Kensington  stitch  ornament  of  the  period; 
a typical  and  graceful  garland  effect  with  leaves 
and  flowers,  bouquets  and  birds. 

35  inches  x 5 feet  11  inches. 

French  Louis  XVI. 

Lent  by  French  & Co.,  N.  Y.  C. 

190.  Brocade.  Faint  old  rose  taffeta  brocade  with  hor- 

izontal strips  of  light  cream  color  and  vertical 
strips  of  darker  shades,  intertwined  with  bunches 
of  flowers-blue  colors  predominating. 

6 ft.  6 in. 

French  Louis  XVI. 

Lent  by  French  & Co.,  N.  Y.  C. 


48 


XI.  French  Costumes.  Eighteenth  Century. 

191.  Cope,  white  damask  ground,  green  and  red  flowers 

stems  in  gold  brocade. 

Italian  or  French,  towards  1700. 

Lent  by  Mr.  Golden  Dearth,  N Y.  C. 

192.  Costume  of  unique  blue  ground  brocade  with  a ma- 

roon colored  ribbon  and  bunches  of  flowers  This 
textile  is  a marvelous  example  of  weaving  and  is 
remarkable  for  its  state  of  conservation.  This 
costume  is  said  to  have  belonged  to  the  family  of 
Countess  die  Bearn  who  in  1769  presented  Mme. 
du  Barry  at  Court. 

French  period  of  Louis  XVI. 

Lent  by  French  & Co.,  N.  Y.  C. 

193.  Chasuble.  Satin  brocade.  Salmon  ground  with 

stripes  in  silver  and  gold  thread. 

French  about  1750.  Period  of  Louis  XV. 

Lent  by  Funaro  & Keller,  N.  Y.  C. 

194.  Costume.  Brocade  (French)  white  ground  with  an 

oversipun  rococo  pattern  in  white  and  scattered 
sprays  in  bright  colors. 

English,  middle  18th  century.  Length,  50  in. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

195.  Waistcoat.  Gray  silk  with  an  overspun  design  of 

vines  and  lacelike  bands  in  the  same  color,  upon 
which  is  superimposed  a vining  pattern  woven  in 
silver  and  gold  threads.  Original  buttons. 
French,  18th  century.  Period  of  the  Regency,  1715- 
1723.  Length,  32  inches. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

196 . Man ’s  Costume  (three  pieces ) . White  velvet  brocade 

woven  in  stripes  with  a small  trellis  patern  in 
green  and  red.  The  coat  richly  trimmed  with 
silver  lace. 

French,  18th  century.  Period  of  Louis  XVI,  1774- 
1792.  Lent  by  Funaro  & Keller,  N.Y.C. 


49 


197.  Costume.  Coat,  breeches  and  waistcoat  in  mulberry 

corded  silk  brocaded  with  an  all-over  pattern  of 
white  five-petaled  blossoms  and  black  dots. 

French,  2nd  half  18th  century. 

Coat  (A)  Length,  41  inches. 

Breeches  (B)  Length,  25  inches. 

Waistcoat  (C)  Length,  35  inches. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

198.  Costume.  Coat,  breeches  and  waistcoat,  in  cream 

colored  velvet,  woven  in  stripes,  seme  with  minute 
roses  in  crimson. 

French,  2nd  half  18th  century. 

Coat  (A)  Length  41  inches. 

Breeches  (B)  Length  25  inches. 

Waistcoat  (C)  Length  31  inches. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

199.  Lady’s  Costume.  Yellow  satin  ground  brocaded 

with  a floral  design  in  orange,  white  and  black. 
French,  18th  century.  Period  of  Louis  XVI,  1774- 
1792.  Lent  by  Funaro  & Keller,  N.  Y.  C. 

201.  Child’s  Trousers.  'Silk  brocade  of  cream  ground 
woven  in  stripes  with  a vining  pattern  and  small 
bouquets  in  pastel  shades. 

French,  18th  century.  Period  of  Louis  XVI, 1774- 
1792.  10x91/2. 

Lent  by  Metropolitan  Museum,  N.  Y.  C. 

201.  Watteau  Costume.  Taffeta  silk,  silver  and  brocade; 

a rare  example  of  a Court  costume.  Period 
1780.  This  costume  came  from  the  famous  San 
Donato  collection  which  was  dispersed  in  1880. 
San  Donato  Demidoff  marred  the  sister  of  Napo- 
leon I and  through  this  connection,  many  great 
French  objects  of  art  came  into  the  family. 

French,  18th  Century. 

Lent  by  French  & Co.,  N.  Y.  C. 


50 


XII.  Hispano-Arabic  Textiles. 


202.  Silk  brocade,  striped,  ornamental  inscriptions  in 

Neskhi  characters,  found  in  a tomb. 
Hispano-Arabic  13th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C 

203.  Hispano-Arabic  silk  brocade,  silver  half -moons  on 

blue  ground. 

Southern  Spain  13  and  14th  centuries. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C 

204.  Silk  brocade.  Geometrical  interlaced  pattern.  .These 

interlaced  patterns  are  characteristic  Arabic  art 
as  a whole,  they  first  appear  in  the  Coptic  tapes- 
tries of  the  pre-Mohammadan  period  in  Egypt. 
They  have  been  particularly  developed  by  the 
Arabic  art  in  Spain,  as  shown  best  in  the  amazing 
stucco  decorations  of  the  Alhambra  in  Granada. 
Southern  Spain.  14th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

205.  Hispano-Arabic  silk  brocade,  geometrical  pattern 

with  large  inscriptions  in  Arabic  Neskhi  charac- 
ters. 

Southern  Spain.  14th  century. 

Lent  by  Cooper  Union  Museum  N.  Y.  C. 

206.  Hispano-Arabic  silk  brocade.  Ogival  pattern  with 

arabesque  flowers. 

Southern  Spain.  14th  century. 

Lent  by  Cooper  Union  Museum  N.  Y.  C. 

207.  Fabric,  wool  and  silk,  striped  with  inscriptions  and 

arabesque  decoration. 

Southern  Spain.  14fh  century. 

Lent  by  Cooper  Union  Museum  N.  Y.  C. 

208.  Silk  brocade,  red  and  green  with  pattern  of  swans 

and  arabesque  scroll  work. 

Hispano-Arabic  14th  to  15th  century. 

Lent  by  Cooper  Union  Museum  N.  Y.  C. 


51 


209. 


Brocade.  Woven  in  stripes  of  red,  bine  and  green, 
with  inscriptions  and  conventionalized  floral  forms 
in  gold  thread. 

Hispano-Arabic.  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

210.  Silk  brocade.  Geometrical  interlaced  pattern. 
Hispano-Arabic.  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

211.  Brocade.  Woven  in  alternate  stripes  of  red,  blue  and 

white  with  inscription  and  coat  of  arms  of  Granada 
Hispano-Arabic.  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

212.  Silk  brocade  with  arabesque  decoration. 
Hispano-Arabic.  15th  century. 

Lent  by  Cooper  Union  Museum!  N.  Y.  C. 

213.  Brocade.  Medallion  with  eight-pointed  star  and 

small  panels  of  inscriptions  wrought  in  yellow, 
red  and  black. 

Hispano-Arabic. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

XIII.  Persian  Textiles — Oriental  Rug  Weaves. 

214.  Fragment  of  Ispahan  rug. 

Early  16th  Century 

Lent  by  Dr.  Denman  Ross,  Boston. 

215.  Persian  rug  from  Ispahan,  conventionalized  flower 

and  scroll  pattern. 

Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

216.  Fragment  of  a woolen  rug.  Silk  warp.  Ogival  pat- 

tern and  conventionalized  scroll  work. 

India,  probably  manufactured  at  the  court  of  the 
Great  Moguls,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C 


52 


217 . Fragment  of  an  Indian  woolen  rug.  Silk  warp.  Pat- 
tern of  naturalistic  flowers : lilys. 

India,  16th  century.  Probably  manufactured  at  the 
court  of  the  Great  Moguls. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

M8.  Cashmere  prayer  rug. 

Lent  by  the  Museum  of  Art,  Cleveland,  Ohio. 

XIV.  Persian  Textiles— Figural  Silk  Fabrics. 

219.  Very  fine  silk  brocade  with  the  representation  of  the 

poet  Medjnun  and  the  Princess  Leila,  one  of  the 
favorite  subjects  of  Persian  poetry.  The  drawing 
of  the  figures  is  in  the  style  of  the  Persian  minia- 
tures of  the  School  of  the  painter  Sultan  Moham- 
mad, pupil  of  the  master  Behsad,  who  lived  in  the 
first  half  of  16th  century,  to  which  date  this  fabrics 
may  be  ascribed. 

Persian,  first  half  16th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

220.  Silk  brocade,  with  the  representation  of  the  poet 

Medjnun  in  the  desert  and  the  Princess  Leila. 
Buff  and  green  on  back  ground.  These  Persian 
silks  with  figure  subjects  are  extremely  rare  and 
belong  to  the  finest  specimens  of  Persian  textile 
art  of  the  16th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

221. -  Brocade.  (Fragment)  Green  saffin  ground  with 

figures  and  floral  sprays  woven  in  tan  color. 
Persian,  16th  century,  in- 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

222 . Brocade.  Black  satin  with  pattern  woven  in  tan  color 

with  touches  of  pink  and  olive.  The  design  repre- 
sents a hunting  scene  with  alternate  rows  of  fig- 
ures bearing  trophies  of  the  chase. 

Persian  16th  century.  16x13  in. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 


53 


223.  Brocade.  (Fragment)  Crimson  satin  ground  witn 

a medallion  in  gray  showing  a garden  scene  with 
two  figures.  7x3%  in. 

Persian,  166th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

224.  Brocade  (fragment).  Yellow  silk  ground  with  the 

design  outlined  in  black.  A garden  scene  with 
musicians. 

Persian,  16th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

225.  Brocade.  Yellow  satin  ground  woven  in  dull  shades 

of  green,  blue,  yellow  and  red  in  a repeating  pat- 
tern of  a royal  attendant  bearing  a wine  bottle  and 
cup  standing  beside  a cypress  tree  surrounded  by 
figures  of  the  chase. 

Persian,  first  half  of  the  17th  centruy. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

226.  Brocade  (fragments).  Design  outlined  in  black.  Gar 

den  scene : a kneeling  slave  offering  a dish  of  fruit 
to  a standing  figure.  7x4%  inches  and  7x4%  inches 
Persian,  16th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

227.  Brocade  (fragment).  Dark  green  satin  ground  with 

a design  of  dragons  (and  figures?)  woven  in  neu- 
tral tints  outlined  in  black.  8%x5  inches. 

Persian,  16th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

228.  Brocade  (fragment).  Gray  ground  with  garden 

scenes  in  blue,  red  and  tan.  7x5  inches. 

Persian,  16th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

229.  Velvet.  Red  ground  with  pomegranates  in  gold 

thread  and  scroll  work  in  Chinese  style. 

Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C 


54 


230. 


Fragment  of  velvet  in  red  and  green  silk  pome- 
granate pattern,  wrought  with  gold. 

Persian,  second  half  of  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

231.  Velvet.  Crimson  ground  with  tulip  design  in  yellow. 

61/2x4:1/2  inches. 

Persian,  16th  century. 

Lent  by  Metropolitan  Museum,  N.  Y.  C 

232.  Velvet,  flower  shrubs  with  Chinese  scroll  work,  buff 

and  yellow. 

Persian,  16th  century. 

Lent  by  Hagop  Kevorlyan,  N.  Y.  C. 

233.  Velvet,  little  shrubs  with  flowers,  on  dark  blue  ground. 
Persian,  16th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C 

234.  Gold  brocade.  Flower  decoration. 

Persian,  16th  century. 

Lent  by  Kelekian,  N.  Y.  C. 

235.  Silk  brocade.  Serpentine  stem  pattern.  Blue  flow- 

ers on  gold  ground. 

Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

236.  Fragment  of  gold  brocade  decorated  with  the  re 

peated  motive  of  a flowered  shrub  with  birds  and 
butterflies. 

Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

237 . Rich  brocade  in  gild  and  silver  thread  on  salmon  red 

ground,  executed  in  damask  technique.  Conven 
tionalized  scroll  and  flower  decoration. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 


55 


238.  Brocade.  Fragment  of  cover  with  border.  A close 

weave  wrought  in  delicate  shades  of  tan,  blue  and 
green  in  an  all  over  tracery  of  scroll  work  inter- 
sected by  conventionalized  pomegranate  motif. 
35x14  inches. 

Persian,  16th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

239.  Cloth  of  Cold.  Birds  and  floral  sprays  alternating 

with  animal  forms  woven  in  neutral  tints  and  out- 
lined in  black.  6x4^  inches. 

Persian,  16th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

240.  Brocade.  Blue  satin  ground  with  an  all-over  pattern 

of  conventionalized  floral  sprays  vertically  ar- 
ranged in  tan  color  with  occasional  black  outlin- 
ing, and  gold  thread.  18x13  inches. 

Persian,  16th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

241.  Fragment  of  gold  brocade,  decorated  with  hyacinths, 

rose  buds  and  caranations  in  blue  and  gold. 
Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  0. 

242.  Silk  brocade  with  representation  of  hares  and  cranes. 

Pattern  under  Chinese  influence.  Green,  white 
and  yellow  silk. 

Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

243 . Gold  brocade,  lilies  on  gold  ground. 

Persian,  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

244.  Fragment  of  silk  damask  decorated  with  convention- 

alized flowers,  blue  and  red  on  silver  ground. 
Persian,  16th  to  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 


56 


245.  Fragment  of  a Persian  sash  with  the  pattern  of  the 

three  crystal  balls.  This  pattern  is  Chinese.  It  is 
a Taoist  symbol,  the  so-called  ‘<Tschintamani.,, 
It  occurs  frequently  on  Chinese  textiles.  With  the 
continuous  influence  of  Chinese  art  on  the  nearer 
Orient  during  the  middle  ages  and  the  following 
periods  this  motive  among  many  others  came  into 
the  nearer  Orient;  we  find  it  frequently  on  the  Per- 
sian carpets  of  the  15th  and  16tli  centuries,  also  on 
Turkish  and  Persian  textiles  of  the  same  periods. 
Persian,  16th  to  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

246.  Cover.  Tan  ground  with  a design  of  scrolls  and  con- 

ventionalized floral  forms  in  dull  shades  of  red 
and  blue  wrought  with  gold  thread. 

Persian,  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

247.  Brocade.  Dark  blue  satin  ground  with  an  overspun 

pattern  of  conventionalized  sprays  of  Iris,  sur 
mounted  by  two  opposed  birds.  22x16  inches. 
Persian,  17th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

248.  Cloth  of  Gold.  Design,  set  floral  sprays,  birds  and 

butterflies  woven  in  velvet.  The  pattern  wrought 
in  dull  tones,  outlined  in  indigo.  15x14  inches. 
Persian,  17th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 

249.  Brocade.  Crimson  satin  ground  with  a closely  ar- 

ranged vining  pattern  of  conventionalized  floral 
sprays  wrought  in  gold  with  touches  of  blue.  25x 
12 y2  inches. 

Persian,  17th  century. 

Lent  by  Metropolitan  Museum  of  Art,  N.  Y.  C. 


57 


250. 


251. 


252. 


253. 


254. 


255. 


256. 


257. 


Silk  brocade,  flower  bouquets  in  Renaissance  vases, 
European  influence. 

Persian,  period  of  Schah  Abbas,  17th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

Silk  brocade  on  green  ground. 

Persian,  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C 

Brocade,  flower  groups  on  salmon  red  ground. 
Persian,  17th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 


Silk  brocade,  flower  shrubs  with  birds  on  grey 
ground. 

Persian,  17th  to  18th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  0. 

Silk  brocade,  red  ground  with  floral  sprays. 

Persian,  17th  to  18th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

Persian  lady’s  sash,  very  rich  brocade. 

Persian,  18th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

Silk  brocade.  Lattice  pattern  on  yellow  ground, 
French  Louis  XVI  style,  European  manufacture 
for  the  Orient,  or  more  probably  Oriental  imitation 
of  a European  fabric. 

End  of  18th  century,  probably  Oriental. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

Fragment  of  a velvet.  Flower  shrubs  and  birds  on 
red  ground. 

Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 


58 


258.  Velvet,  probably  manufactured  at  Yezd,  south-east- 

ern Persia.  Conventionalized  floral  pattern  and 
pomegranate.  Crimson  and  yellow  on  dark  green 
ground. 

Persian,  16th  to  17th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

259.  Velvet  ogival  composition  with  conventionalized 

flowers,  very  bright  colors.  Red,  green  and  blue 
on  white  ground. 

Persian,  (Yezd).  16th  to  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

260 . Silk  and  linen  fabric.  Red  scrollwork  and  yellow  on 

green  ground. 

Persian,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

XV.  Persian  Costumes. 

261.  Lady’s  costume.  Flower  bouquets  on  salmon  red 

ground. 

Persian,  18th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

262.  Lady’s  jacket,  gold  Arabesque  pattern  on  blue 

ground. 

Persian,  17th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

263.  Lady’s  costume,  silk  brocade,  decorated  with  flower 

bouquets  on  yellow  ground. 

Persian,  17th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  G. 

264.  Lady’s  jacket,  silk  decorated  with  shrubs,  with  flow 

ers  and  birds,  on  salmon  red  ground. 

Persian,  17th  to  18th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

265.  Man’s  costume.  Coat  woven  in  silk  tapestry. 
Syrian,  17th  century. 

Lent  by  Dr.  Denman  Ross,  Boston. 


59 


266. 


Cope,  made  of  Persian  silk  fabric.  Floral  pattern. 

Yellow  and  gold  design  on  red  ground. 

The  collar  Turkish  velvet  Scutari  work  of  the  16th 
century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

267.  Cope,  made  of  Persian  silk  fabric. 

Persian,  16th  century. 

Lent  by  the  Museum  of  Art,  Cleveland,  Ohio. 

268.  Chasuble,  made  of  green  and  red  Persian  velvet. 

Lent  by  the  Museum  of  Art,  Cleveland,  Ohio. 

269.  Fragment  of  a Cashmere  shawl.  Wool. 

India,  17th  century. 

270.  A fragment  of  a Cashmere  shawl,  and  scrolling  floral 

border. 

The  ground  is  of  dark  blue  wool.  The  design  of  con- 
ventional leaves  forming  diamonds  and  enclosing 
flowers  and  buds  in  profile,  is  woven  with  light 
blue,  yellow,  white  and  red  wool. 

Lent  by  Boston  Museum  of  Fine  Arts. 

271.  Fragment  of  shawl.  (Imitation  Cashmere). 

The  ground  is  of  white  cotton.  The  design,  which 
consists  of  narrow  stripes  separating  wider  stripes 
of  obliquely  arranged  oblong  floral  forms,  is  woven 
with  red  and  green  cotton. 

Probably  Scotch  (Paisley)  or  English,  1st  half  of 
19th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

272.  End  of  Cashmere  scarf. 

The  ground  is  white;  the  design  of  a powder  of  sym- 
metrical, conventional  flowers,  is  woven  with  light 
green,  blue  and  yellow  wool.  On  the  end  is  a nar 
row  yellow  border,  on  which  is  a blue  and  yellow 
vine. 

Lent  by  Boston  Museum  of  Fine  Arts. 


60 


273.  Fragment  of  a Cashmere  shawl. 

The  ground  is  dark  blue  wool.  The  design  of  rows 
of  pears  or  palm  leaves,  is  woven  with  red,  pink, 
yellow,  white,  green,  blue  'and  black  wool. 

Lent  by  Boston  Museum  of  Fine  Arts. 


XVI.  Turkish  Textiles. 

274.  Velvet,  gold  and  silver  brocade  on  buff  velvet  ground. 

Huge  pomegranate  pattern  with  huge  stems  form 
ing  losenges.  Oriental  work  in  imitation  of  Vene- 
tian velvets. 

Turkish,  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

275 . Velvet  with  red  ground  with  design  in  gold  and  silver. 

Huge  pomegranate  pattern  with  stems  forming 
lozenges.  Turkish  manufacture  in  imitation  of  Ve- 
netian velvets. 

Turkish,  15th  to  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C 

276.  Velvet.  Scutari  work.  Pomegranate  pattern 

Colors;  crimson,  gold  and  silver. 

Turkish.  Early  16th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

277.  Velvet,  red  ground  with  gold  and  silver  brocade. 

Huge  pomegranate  pattern  with  stems  forming 
lozenges.  Turkish  manufacture  in  imitation  of 
Venetian  velvets. 

Turkish,  15th  or  beginning  of  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

278.  Velvet  from  Scutari.  Ogival  pattern  with  flower 

bouquets,  silver  ground,  red  and  green  velvet. 
Turkish,  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 


61 


279.  Large  piece  of  velvet  decorated  with  a pattern  of 

large  palm  leaves,  in  the  inside  of  the  palm  leaves 
decoration  of  smaller  flowers,  carnations  and  rose 
bnds  on  silver  and  gold  ground.  Red  and  green 
silk  velvet. 

Turkey,  Scutari,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

280.  Brocade.  Crimson  satin  ground  with  a bold  pattern 

of  Ogival  framework  and  medallions  woven  chiefly 
in  white  silk  and  silver  thread  with  floral  and  fruit 
motifs,  the  pink,  tulip  and  pomegranate  accentuat- 
ed by  touches  of  yellow,  blue  and  green.  50x19  in. 
Asia  Minor,  16th  century. 

Lent  by  Metropolitan  Museum. 

281.  Fragment  of  Brussa  silk.  Ogival  pattern,,  golden 

branches  of  roses  on  mauve  ground. 

Turkish,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C 

282 . Silk  brocade,  decorated  with  Ogival  pattern  and  flow- 

er branches  on  red  ground. 

Turkish  (Brussa)  16th  century. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

283.  Silk  panel  in  blue  and  gold. 

Turkish  (Brussa)  16th  century. 

Lent  by  the  Museum  of  Art,  Cleveland,  Ohio. 

284.  Silk  brocade,  Ogival  pattern  with  flowers,  gold  bro- 

cade and  red  ground. 

Turkish  (Brussa)  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

285.  Gold  brocade,  woven  in  red  and  blue  silk.  Ogival 

pattern  with  conventionalised  flowers. 

Turkish  (Brussa)  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 


62 


286.  Silk  with  floral  design  in  grey,  blue  and  red. 
Turkish  (Brussa)  16th  century. 

Lent  by  the  Museum  of  Art,  Cleveland,  Ohio. 

r 

287.  Silk  brocade  gold  and  red.  Huge  rose-bud  pattern, 

with  smaller  carnation  flowers. 

Turkish  (Brussa)  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

288.  Fragment  of  Brussa  silk,  large  Ogival  pattern  with 

carnations  and  Chinese  cloud  pattern  (tchi),  which 
is  very  often  found  in  the  art  of  the  nearer  Orient. 
Turkish,  16th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

289.  Gold  brocade.  Red  ground,  conventionalized  flowers 

and  scroll  work. 

Turkish  (Brussa)  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

290.  Gold  brocade.  Huge  pine-apple  pattern  with  scroll 

work  on  red  ground. 

Turkish  (Brussa)  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

291.  Silk  fabric  with  Ogival  pattern  and  flowers,  gold 

brocade  on  red  ground. 

Turkish,  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

292 . Fragment  of  silk  brocade  with  a floral  pattern  woven 

in  green  and  red. 

Turkish  (Brussa)  16th  century. 

Lent  by  Dr.  Denman  Ross,  Boston. 

293.  Silk  brocade,  yellow  scroll  work  and  flowers  on  red 

ground. 

Turkish  (Brussa)  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 


63 


294. 


Cope.  Turkish  gold  brocade,  gold  flowers  on  red 
ground. 

Turkish  fabric  of  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

295.  Silk.  Red,  gold  and  blue  decoration  in  a lozenge  re 

repeat. 

Turkish  (Brussa)  16th  century. 

Lent  by  Mr.  J.  H.  Wade,  Cleveland,  Ohio. 

296.  Velvet  Cushion  cover. 

The  ground  of  the  main  field  is  of  pinkish-red  cut 
velvet.  The  medallion  in  the  middle  and  the  sec- 
tions of  medallions  in  the  corners,  are  of  yellow 
and  white  silk-  woven  with  narrow  strips  of  metal. 
The  ground  of  the  borders,  on  the  sides,  is  of  green 
velvet,  on  the  ends,  of  red  velvet.  Across  the  ends 
are  bands  of  pointed  panels  filled  with  symmetri 
cally  arranged,  conventional  carnations  and  buds. 
Turkish,  17th  century. 

Lent  by  Mr.  Horatio  Curtis,  Boston,  Mass. 

297.  Divan  cushion.  Green  and  white  with  silver  embroi- 
dery. 

Turkish  (Scutari),  17th  century. 

Lent  by  Mr.  J.  H.  Wade,  Cleveland,  Ohio. 

298.  Velvet  cushion  cover.  White  silk  and  red  velvet  and 

silver.  The  design  consists  of  a circle  enclosing  a 
star  and  carnations  and  buds  in  profile.  Across 
and  ends  are  bands  of  painted  panels  filled  with 
symmetrically  arranged  conventional  plant  forms. 
Turkish,  17th  century. 

Lent  by  Mr.  Horatio  Curtis,  Boston,  Mass 

299.  Velvet  cushion  cover. 

The  ground  is  of  white  silk;  the  design  of  green  cut 
velvet,  consist  of  an  Ogival  framework  detailed 
with  flowers  and  enclosing  bunches  of  flowers. 
Green  and  white  fringe  on  three  sides.  Across  the 


64 


ends  are  bands  of  pointed  panels  enclosing  sym- 
metrically arranged,  conventional  plant  forms. 
Turkish,  18th  century. 

Lent  by  Mr.  Horatio  Curtis,  Boston,  Mass. 

300.  Silk,  red  ground,  medallions  with  geometrical  pat- 

tern. 

Turkish  (Brussa),  17th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

301.  Silk  fabric  with  undulating  stems  and  carnation  flow- 

ers. Red  ground. 

Turkish  (Brussa),  17th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C. 

302.  Brocade.  Red  satin  ground;  the  ogival  framework, 

enclosing  symmetrical  groups  of  seed  vessels  and 
open  flowers,  is  woven  with  gold  thread  and  white 
and  green  silk. 

Turkish  (Brussa),  17th  century. 

Lent  by  Mr.  Horatio  Curtis,  Boston,  Mass. 

303.  Silk  fabric  from  Brussa,  red  ground,  medallions  with 

suns,  scroll  work. 

Turkish,  17th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C., 

XVII.  Oriental  Textiles — Miscellaneous. 

304.  Brocade.  Blue  satin  ground  with  a design  of  framed 

medallions  enclosing  a central  motif  of  two  op- 
posed hares. 

Probably  Egyptian,  Mameluke  period,  under  Chinese 
influence,  14th  to  15th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

305.  Fragment  of  a tomb  veil  in  rough  black  lampas,  silk 

and  linen  mixed.  Pattern  large  zig-zag  stripes 
with  Arabic  inscriptions,  probably  verses  of  the 
Koran.  This  type  of  textiles  is  used  as  covers  for 
the  tombs  of  holy  men  in  the  mosques  of  the  East. 


65 


A tradition,  difficult  to  be  controlled,  says  that 
these  fragments  of  black  fabric  are  pieces  of  the 
large  tomb  veil  which  is  given  every  year  by  the 
ruler  of  Egypt  to  cover  the  Kaaba  in  Mecca  and 
which  at  the  end  of  the  year  is  cut  to  pieces  and  dis- 
tributed to  prominent  visitors. 

Oriental  work,  17th  to  18th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C 

306.  Tomb  veil.  Brocatelle.  Ziz-zag  pattern  with  in- 

inscriptions, probably  Koranic  verses.  Green  and 
white  silk. 

Syrian,  16th  to  17th  century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

307.  Silk  brocade  with  flower  medallions  on  red  ground. 
Syrian,  16th  century. 

Lent  by  Hagop  Kevorkyan,  N.  Y.  C 

308.  Silk.  Violet,  yellow,  blue,  deep  cream  and  light 

brown  and  cream  ribbons  sewed  together.  In  the 
middle  a wide  bblue  ribbon  with  red  stripes  into 
which  are  woven  geommetrical  designs  with  yellow, 
white,  green  and  red  silk. 

Egyptian,  19th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

309.  Greek  silk  brocade,  interlaced  pattern,  with  angel 

heads.  For  ecclesiastical  use.  Yellow,  green  and 
red  silk. 

Oriental  for  the  use  of  the  Greek  church,  16th  to  17th 
century. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

310.  Silk  brocade,  ble  and  buff  scroll  work  forming  los- 

enges,  conventionalized  peony  flowers  and  Chin- 
ese inscriptions  in  Archaic  Tchou  characters. 
Chinese  fabric  found  in  an  Egyptian  tomb.  There 
has  always  been  commercial  intercourse  between 
Egypt  and  China,  since  the  times  of  the  Roman 


66 


Empire,  where  the  greater  part  of  the  import  of 
Chinese  silk  to  Europe  went  through  Barygaza 
(India,  near  Bombay)  and  Egypt.  We  know  a 
certain  number  of  Chinese  silk  fabrics,  manufact- 
ured in  China  with  Arabic  inscriptions,  the  most 
remarkable  piece  is  preserved  in  St.  Mary’s  Church 
in  Dantzig,  Germany,  with  parrots,  Chinese  drag- 
ons and  an  Arabic  inscription  referring  to  a mame- 
luk  sultan  of  Egypt,  reigning  towards  1300.  So 
the  fact  of  a Chinese  fabric  found  in  an  Egyptian 
tomb  is  not  surprising. 

Another  piece  of  the  same  fabric  is  in  the  Errera 
collection,  Brussels. 

Chinese,  13th  century,  Sung  period. 

Lent  by  Cooper  Union  Museum,  N.  Y.  C. 

311.  Large  Chinese  velvet  hanging ; border ; maeander  pat- 

tern; in  the  center  is  scroll  work  with  large  con- 
ventionalized peony  flowers,  blue  and  green  silk 
velvet  interwoven  with  gold.  This  piece  (like  the 
the  three  following)  was  manufactured  for  the 
imperial  palace  in  Jehol,  Mongolia. 

Chinese,  period  of  Kanghi,  17th  century. 

Lent  by  Mr.  Loo-Tsing-Tai,  New  York. 

312.  Large  velvet,  hanging  maeander  border,  in  the  cent- 

ral field  scroll  work  with  conventionalized  peony 
flowers,  yellow  and  red  silk,  gold  threads. 

Chinese,  Kanghi  Period.  17th  century. 
Manufactured  for  the  Imperial  palace. 

Lent  by  Dikran  Kelekian,  N.  Y.  C. 

313.  Chinese  velvet,  maeander  border,  peony  and  scroll 

work  on  red  ground,  interwoven  with  gold. 
Chinese  Kanghi  Period.  17th  century. 

Lent  by  Mr.  J.  H.  Wade,  Cleveland,  Ohio. 

314 . Imperial  Chinese  velvet  carpet  of  brilliant  red  back- 

ground with  design  of  bats  and  peonies  and  double 
peach,  symbol  of  long  life.  Three  strips  of  velvet 
sewn  together.  6ft.  7 inches  by  12  feet  8 inches. 
Chinese  Kanghi  Period.  17th  century. 

Lent  by  French  & Co.,  N.  Y.  C. 


67 


315.  Panel.  Green  satin  brocaded  with  a procession  of 

female  figures  woven  in  gold. 

Chinese.  18th  century. 

Lent  by  the  Brooklyn  Museum,  Brookyn,  N.  Y. 

316.  Embroidery.  Part  of  shirt,  made  in  China  for  the 

Parsees  of  India.  Eaded  blue  silk  ground.  The 
design  of  peacocks  and  other  birds  and  various 
flowers  is  worked  with  violet  and  light  greenish 
brown  silk. 

Chinese. 

Lent  by  Boston  Museum  of  Fine  Arts. 

317.  Brocade  with  a design  of  scroll-work  on  a yellow 

ground. 

Chinese.  18th  century.  Kien  Lung  Dynasty. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C, 

318.  Brocade  with  a design  of  naturalistic  peonies  on  a 

green  grond. 

Chinese.  Kien  Lung  Dynasty.  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

i 

319.  Brocade  with  a design  of  conventionalized  peonies, 

red  on  a blue  ground.  Shaped  in  the  form  of  a 
Japanese  Kesa,  or  altar  cloth.  These  covers  called 
Kesa  are  always  formed  of  fragments,  following 
the  Buddhistic  tradition,  discouraging  the  posses- 
sion of  worldly  goods  and  exalting  poverty.  An 
example  set  by  the  priests  in  their  altar  decora- 
tions. 

Chinese.Kien  Lung  Dynasty.  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

320.  Imperial  Child’s  Robe.  Silk  tapestry  woven  in  yel- 

low with  a polychrome  border  of  crested  waves 
surmounted  by  scrolled  clouds  and  a three-peaked 
hill.  On  the  sleeves,  shoulders  and  front,  appear 
seven  cloud-edged  medallions  encircling  the  five- 
clawed  dragon  in  pursuit  of  the  rolling  flame- 
edged  disc  (emblem  of  omnipotence).  On  the 


68 


yellow  ground,  cloud  motifs  worked  in  green  and 
blue  mingle  with  flying  bats  (symbolic  of  happi- 
ness) and  fish,  while  at  the  back  and  front  the 
“Ch’ing”  motif  (a  musical  stone  of  jade)  with 
pendant  jewels.  On  either  shoulder  appears  the 
44Chang”  or  4 4 Endless  Knot”  motif. 

Chinese.  18th  century.  Chien  Lung  Dynasty,  1736 
1796.  Length  16  inches. 

Lent  by  the  Metropolitan  Museum  of  Art. 

321.  Hanging  of  silk  tapestry. 

Chinese.  18th  century. 

Lent  by  Dr.  Denman  Ross,  Boston 

323.  Man’s  costume.  Coat  woven  in  silk  tapestry  with 

border  of  wave  pattern. 

Chinese.  18th  century. 

Lent  by  Dr.  Denman  Ross,  Boston 

324.  Coat.  Black  satin  with  butterflies  woven  in  silver; 

edged  with  purple  and  gold  brocade. 

Chinese.  18th  century. 

Lent  by  Brooklyn  Museum 

325.  Theatrical  robe.  Green  satin  elaborately  embroid- 

ered in  gold. 

Chinese.  18th  century. 

Lent  by  Brooklyn  Museum 

XIX.  Japanese  Textiles. 

326.  Silk  fabric.  Representing  flying  storks  and  clouds. 

Black,  white  and  buff. 

Japanese.  17th  to  18th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

327 . Brocade.  The  ground  of  silver  paper  is  covered  by 

a geometrical  pattern.  On  this  are  open  peonies, 
woven  with  light  green,  white,  dark  blue  and  light 
brown  silk,  and  silver  paper. 

Japanese.  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 


G9 


328.  Bars  of  green,  forming  diamonds  on  light  tan 

ground.  Large  design  of  butterflys  and  foliage 
in  green,  orange  and  gold. 

Lent  by  the  Museum  of  Providence,  R I. 

329.  Fabric.  Representing  stags  in  a landscape,  trees, 

mountains  and  sunst.  Numerous  inscriptions. 
Partly  velvet  technique.  White  on  dark  blue 
ground. 

Japanese.  18th  century. 

Lent  by  the  Museum  of  Providence,  R.  I. 

330-337.  Eight  fragments  of  brocade. 

Japanese.  18th  century. 

Lent  by  the  Metropolitan  Museum  of  Art. 

338-342.  Five  fragments  of  brocade  and  embroidery. 
Japanese.  18t  century. 

Lent  by  the  Metropolitan  Museum  of  Art. 

343-349.  Eight  fragments  of  brocade. 

Japanese.  18th  century. 

Lent  by  the  Metropolitan  Museum  of  Art. 

350-357.  Eight  fragments  of  brocade. 

Japanese.  18th  century. 

Lent  by  the  Metropolitan  Museum  of  Art. 

358.  Brocade  with  a design  of  peonies  on  a reddish 
ground. 

Japanese.  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

358.  Brocade.  Dark  greenish  black  satin  ground,  on 
Which  is  a design  of  horizontal  rows  of  peony-like 
flowers  woven  with  green,  golden  brown  and  white 
silk,  and  narrow  strips  of  gilded  paper.  These 
flowers  are  connected  and  surrounded  by  stems 
and  leaves  of  gold. 

Japanese.  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 


70 


360.  Brocade  (Kinran)  with  a design  of  conventionalized 

peonies  on  a gold  ground. 

Japanese,  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

361.  Brocade  with  a design  of  lotus  petals  and  clouds  on 

a gold  ground. 

Japanese,  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

362.  Brocade.  White  ground  covered  with  a close  design 

of  passion  flowers  and  leaves,  woven  with  bright 
red,  dark  green,  and  white  silk,  and  narrow  strips 
of  gilded  paper. 

Japanese,  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

363.  Brocade  with  a design  of  crysanthemums  and  kiri 

blossoms  in  silver,  green  and  salmon  on  a blue 
checked  ground. 

Japanese,  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

364.  Silver  brocade  with  medallions  of  dragons  and  cloud 

work. 

Japanese,  18th  century. 

Lent  by  Dr.  Arnold  Genthe,  N.  Y.  C. 

365.  Silk  fabric.  Representing  a group  of  storks  standing 

in  a pond.  White,  black,  buff  and  red  on  blue 
ground. 

J apanese,  18th  century. 

Lent  by  the  Museum  of  Providence,  R.  1. 

366.  Brocade  with  a design  of  conventionalized  crysanthe- 

mums and  the  key  pattern  woven  in  red,  blue  and 
silver. 

Japanese,  18th  century. 

Lent  by  Yamanaka  fo  Co.,  N.  Y.  C 


71 


367.  Brocade.  Gold  weave  with  a design  of  Chinese  drag- 

ons and  clouds  on  a green  ground. 

Japanese,  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

368.  Brocade.  Deep  cream-colored  satin  ground,  on 

which  is  a design  of  large  peonies,  and  leaves, 
woven  with  narrow  strips  of  gilded  paper. 
Japanese,  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

369.  Brocade.  Dark  blue  satin  ground.  The  design  of 

flowering  vines  is  woven  with  narrow  strips  of 
gilded  paper. 

Japanese,  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

370.  Damask.  Dark  blue  satin  ground.  The  design  of 

peonies  and  other  flowers  and  leaves  is  woven  with 
dull  brown  silk. 

Japanese,  18th  century. 

Lent  by  Boston  Museum  of  Fine  Arts. 

371.  Brocade.  The  gray  ground  is  woven  with  narrow 

strips  of  paper,  probably  slivered  originally;  the 
design  of  storks  is  woven  with  white  silk  and  small- 
er quantities  of  blue,  pink,  deep  yellow,  green  and 
black  silks. 

Japanese,  18th  cenetury. 

Lent  by  the  Boston  Museum  of  Fine  Arts. 

372.  Square  of  gold  brocade  with  dragon  design. 
Japanese,  18th  century. 

Lent  by  Dr.  Denman  Boss,  Boston. 

373.  Damask.  Bed  satin  ground  with  a large  design  of 

peonies  and  symbols  woven  with  red  and  green 
silk,  so  as  to  give  the  effect  of  brown  in  some 
lights,  and  green  in  others. 

Japanese,  18th  century. 

Lent  by  the  Boston  Museum  of  Fine  Arts. 


72 


374.  Curtain  of  brown  and  gold  brocade. 

Japanese,  18th  century. 

Lent  by  Yamanaka  & Co.,  N.  Y.  C. 

375.  Costume  worn  in  No  Dance.  Pink  ground  brocaded 

in  bright  figured  medallions  with  gold. 

Japanese,  18th  century. 

Lent  by  Brooklyn  Museum. 

376.  Court  robe,  green  with  ogival  pattern. 

Japanese,  18th  century. 

Lent  by  the  Brooklyn  Museum. 

XX.  Peruvian  Textiles. 

377.  Peruvian  Tapestry.  Colors,  yellow  and  red.  Pat- 

tern, monkies.  Border,  cross  pattern  and  parrots 
Lent  by  the  Museum  of  Providence,  R.  I, 

378.  Fragment  of  Peruvian  tapestry.  Colors,  mauve,  red, 

yellow  on  gray, -mauve  ground.  Border,  conven- 
tionalized birds. 

Lent  by  the  Museum  of  Providence,  R.  I. 

379.  Fragment  of  Peruvian  tapestry.  Representation  oi 

demons. 

Lent  by  the  Museum  of  Providence,  R.  I. 

380.  Pattern  of  conventionalized  birds.  Color,  light  tan. 

Lent  by  the  Museum  of  Providence,  R.  I. 


73 


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F.  R.  MARTIN 

Figurale  persische  Stoffe. 

1899  fo. 

F.  R.  MARTIN 

Morgenlaendische  Stoffe 
1897  fo. 

F.  R.  MARTIN 

History  of  Oriental  carpets 
fo.  3 vols. 

GASTON  MIGEON 

La  Collection  Kelekian 
Paris  Levy,  1911. 

MIGEON 

Les  Arts  dn  Tissu 

GAYET 

L’art  Copte. 

F.  ARMBRUSTER,  Mnsee  Lyonnais  d’Art  indus- 
trial. Specimens  de  soieries  et  tissues  faisant  par- 
tie  due  Mnsee. 

Paris.  Calavas  (1891)  80pl.  fo. 

CHAMPEAUX 

Les  Arts  dn  Tissn 

COX,  RAYMOND,  le  Mtisee  historique  des  tissus  de 
la  Chambre  de  Commerce  de  Lyon. 

Lyon  Ray  et  Cie  1902.  2 Fo  pp  80. 

DREGER,  MORIZ 

Kuenstlerische  Entwickling  der  Weberei  nnd 
Stickerei.  Wien.  3 vols. 


74 


ERRERA  ISABELLE 

Catalogue  d’  etoffes  anciennes  et  modernes  Brux- 
elles Lamertin  1907. 

331  pp.  40. 

Die  Aegyptisehen  Textilfunde  Katalog  von 
Alois  Riegl  K.  K.  Oesterr  Museum  f.  Kunst- 
Gewerbe.  Wien  Waldheim  1899  fo. 

LESSING 

Gewebe  SammlUng  des  Kgl.  Kunst  & Gewerbe  Mu- 
seums in  Berlin.  13  vols  fo.  1900-1913. 

EMIL  KUMSCH 

Muster  Orientalisdher  Gewebe 
Dresden  1893. 

FRANCISQUE  MICHEL 

Recherches  sur  le  commerce  de  la  soie. 

Paris  1852. 

GERSPACH 

Les  Tapisseries  Coptes 

FORRER,  DR.  R. 

his  different  publications  on  excavations  in  Egypt. 
Also  his  book  on  printed  textiles. 

SARRE-HERZFELD 
Fransiche  Felsreliefs. 

STRZ  Y GO  W SKI 
Orient  oder  Rom. 

VERNEUIL 

Etoffes  Japonaises 
Paris,  1910. 

SARRE-MARTIN 

Ausstellung  von  Meisterwerken  muhammedanisher 
Kunst  in  Munchen.  3 vols.  fo  1912.  Bruck- 
mann  Munchen. 


75 


HAMPE 

Katalog  der  Gewebesammlung  des  germanischen 
Museums  zu  Nurnberg.  1896. 

*#*  OTTO  V.  FALKE 

Kustgesohicbte  der  Seidenweberei.  Berlin,  Was- 
muth  1913.  2 vols.  8 o. 

PARISET 

Histoire  de  la  soie 
Paris  1862. 

COLE 

Catalogues  of  the  Textile  Collections  at  the  South  Ken- 
sington Museum  London. 


MEMORANDUM. 


MEMORANDUM. 


MEMORANDUM. 


Announc  e m e rt  t 


HE  Committee  of  the  Exhibition  plans  the 
publication  of  an  important  illustrated  work 
on  the  Historical  Exhibition  of  Textiles. 

This  publication  shall  contain : a short  scientific 
history  of  the  textile  art  as  exemplified  by  the 
specimens  in  the  Paterson  exhibition,  and  a complete 
catalogue  of  the  Exhibits  by  Dr.  R.  Meyer-Riefstahl. 

A hundred  plates  of  reproductions  of  the  most 
important  exhibits,  a number  to  be  printed  in  color, 
the  black  and  white  reproductions  in  photogravure. 

A short  resume  of  the  First  National  Silk 
Convention  in  Paterson  and  its  transactions  and 
a list  of  the  delegates  to  the  Convention. 

This  publication  is  intended  to  be  a handbook 
for  art  students  as  well  as  for  silk  manufacturers. 
It  will  be  the  first  publication  on  ,T extiles  containing 
exclusively  material  taken  from  American  collections. 

A prospectus  with  specimen  of  reproductions 
and  text  will  be  published  later.  Visitors  to  the 
exhibition  interested  in  this  publication  and  desiring 
to  receive  the  prospectus  are  requested  to  leave 
their  names  and  exact  addresses  in  the  address  book 
placed  at  the  catalogue  desk. 

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PRINTED  AND  BOUND  BY  THE  PATERSON  COMPOSITION  CO.,  INC. 
1 4 PARK  AVE. , PATERSON,  N.  J. 


